G - Music 50 French Caribbean Notes PDF

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G - Music 50 French Caribbean Notes...

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Music 50 French Caribbean Minor-Transnationalisms

Kreyòl Phrases Ki jan ou ye?

M la M pa pi mal M byen

Ki jan ou rele?

M rele Laura

Ki jan li rele?

Li rele Bob

Overview of Materials • • • •

Introduction to Haiti and the French Antilles Historical parallels and present-day divergences Musical parallels Evolution and Interaction of Popular Dance Music

What is the French Caribbean? For the Purposes of this class, French Caribbean refers broadly to the islands/countries of the Caribbean and Caribbean-bordering South America that are most influenced by French Colonialism. More specifically, we will be looking at Haiti and the French Antilles. Haiti • • • • • •

Located on the western third of the island of Hispanola Hispanola under Spanish control 1492-1697 1697- Treaty divided Haiti and the Dominican Republic France got Haiti – called it Saint Domingue Haiti became the most lucrative colony in the Caribbean 1789 population: 31,000 whites, 27,500 afranchi, and estimated between 600,000 and 900,000 slaves.

Haitian Revolution •

A slave uprising in the northern plantations in September 1791, incited by runaway slave (mawon) called Dutty Boukman, started a bloody revolution in which Haiti would win its independence. The Haitian Revolution is a truly fascinating story in which former slaves come together and despite a lack of

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resources use military tactics to form alliances with enemies of France (like the british), to abolish slavery and eventually defeat Napoleon’s army. Took place from 1791-1804 Toussaint Louverture was the primary general Second republic of the Americas First country founded off of a slave revolt

Aftermath of the Revolution •

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US didn’t recognize Haiti as a country until 1860 ; France until 1820, at which point they demanded Haiti pay restitution of 150 million francs (roughly 3 billion dollars) Toussaint Louverture murdered in captivity during revolution, Jean Jacques Dessalines (first president) killed in 1805 Country split in 1808 into Monarchy in North (Henri Christophe), Republic w/ President Alexandre Petion in the South and West Reunited in 1820 upon both mens deaths by Jean Boyer, President until 1843 Tumultuous politically from 1843 to 1915 U.S. Occupation of Haiti from 1915-1934

The French Antilles • •

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Different ways to designate what constitutes “French Antilles” Political designations influence connections o Several islands in the Caribbean are still under political control of France, existing as overseas departments (functioning as overseas states), territories, or collectivities of France o Guadeloupe and Martinique are both overseas departments, making their inhabitants French citizens and the currency the euro. Musical / Geographic Commonalities o Some scholars (Guilbault 1993) have grouped Martinique, Guadeloupe, Saint Lucia, and Dominica together because they are close in proximity and have shared a certain amount of cultural exchange o However, Dominica and St. Lucia were primarily colonized by the British and are independent now. They did have French colonial ties. Thus, the official language on these islands is English and there is a French-based Kreyol spoken among decedents of slaves on the islands. o Dominica will come back later in our discussion of Cadence-lypso Cultural / Musical / Political o Guadeloupe and Martinique are both Overseas Departments of France, they have a completely tied together music industry, and they speak very similar French-based Creole languages For the purposes of this discussion, Martinique and Guadeloupe are the islands to which we are referring when we say “French Antilles” o We will also talk about French Guiana and Dominica

Martinique and Guadeloupe

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1493 – Columbus arrives on the islands 1635 – France colonizes the islands 1640 – 1833 The slave trade enabled plantation economy 1848 – Slavery abolished 1946 – Departmentalization: Maritnique and Guadeloupe become departments of France, giving their inhabitants the rights of French citizenship

Popular Dance Music Dialogues in the Twentieth Century Konpa (Haitian Dance Music) • • • •

1955: Nemours Jean-Baptist introduced konpa-dirèk, a musical style meant to be broadly appealing the genre is méringue (Haitian) and merengue (Dominican Republic) inspired instrumentation included: accordion, bass, guitar, saxophones, trumpets, tanbou (drum), graj (scraper), and vocals Konpa was meant to be mass-marketable Haitian music; enjoyed regardless of class or race

“Commercial Rhythm” (1960) by Ensemble Nemours Jean-Baptiste • • •

Early konpa song Boasts the success of the genre and popularity among Haitians and other people in the French Caribbean Konpa was frequently purchased and listened to in the French Antilles

Mini-djazz (konpa ensembles from the late 1960s onward) •

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Instrumentation changes o Horns roles lessened (or excluded) o Chiré guitar ostinato, drum set, congas, bell, tom tom o Electric guitar becomes a focal point Rhythm section: drum set. Cymbal rhythm indicative of French Caribbean sound (ti bwa / cinquillo); incorporation of drum breaks (kasé). “Modern sound” for appeal : continue to appeal to audiences throughout Haiti and the French Antilles 1968: Tabou Combo de Petionville heralded this shift in style. Later they shortened their name to Tabou Combo

Minouche (1973) by Tabou Combo • • • •

example of mini-djazz ensemble from 1973 album “Respect” Includes the “kasé” section at 36 seconds in Ti bwa rhythm (cinquillo) featured in the kasé section

Cadence-lypso (genre from Dominica)

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Emerged in the 1970s out of Dominica (island between Martinique and Guadeloupe in the lesser Antilles Genre incorporates kadans (konpa) and influences from calypso (a genre originally from Trinidad) By drawing elements from Trinidadian and Haitian music, this genre encapsulates the island’s British and French colonial history The group Exile One was important in the genre’s formation Exile One strategically marketed themselves as Guadeloupean, using Guadeloupean Kreyol instead of Dominican Kreyol in their lyrics, hoping to appeal to a broader Kreyol audience.

Zouk (French Antillean Popular Music) • • • • •

Created by Antillean group Kassav’ Antillean studio musicians (working in Paris) wanted to create a polished popular music from the French Antilles Result: electronically produced drum and bass ostinatos layered with horns, electronic keyboard, and electric guitar Kassav’ : the name originates from the Antillean word for the cassava root. Kassav’ is meant to be nourishing to Antilleans with their music. Early songs “Love and Ka Dance” for example, included traditional sounds like gwo ka drumming and gwo ka style singing

“Zouk la se sel medikaman nou ni” (Zouk is the only Medicine we Have) by Kassav (1984) • • • • • •

Quintessential zouk song Catapulted Kassav’ to popularity Underlying “zouk” rhythm Drum and guitar ostinato Call and response in the chorus Horn interjections

Zouk and Konpa Influences •

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Zouk was immensely popular in the 1980s (not just in the French Antilles, but throughout the Caribbean as well as with followings in Africa, Europe, and North America Zouk’s popularity influenced the evolution of konpa’s sound as well Example: Patrick Saint-Eloi “Direktion” (zouk) and Tabou Combo’s “Mario Mario”

Anti-Haitian Stigma •

In 2012 the combined Haitian population in Guadeloupe, Martinique, and French Guiana was estimated between 50,000 and 70,000 people.

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Unemployment on the islands coupled with illegal Haitian immigration has led to tensions in which Antilleans think ill of Haitians, thinking they are stealing jobs and are a nuance Unfortunately, many Haitians once they arrive in Guadeloupe and Maritinique are unable to return to Haiti, sending much of their paychecks to their families.

Both Wouve la pot and Yo Pa Enmé Illustrate an animosity toward Haitians Wouve la Pòt (Open the Door) (2007) by Soft • • •

From the album Partout étranger (Everywhere abroad/foreign) Discusses issues of anti-Haitian racism in Guadeloupe and the animosity felt towards Haitian immigrants Also mentions Antillean interest and love for konpa music

Yo Pa Enmé (They Don’t Like) (2008) by Admiral T • • •

Song describes the hypocrisy of Antilleans distaste towards Haitians in spite of their love of Haitian music The lyrics include the names of four popular Haitian konpa bands: Carimi, T-Vice, Ti-Kabzi, and Tabou Combo Admiral T is a Guadeloupean dancehall artist who has promotes an inclusivity in his music (see also Les Mains en L’Air in which he makes connections between the Parisian banlieue and the ghettos in the Caribbean).

French Caribbean Music in Paris • • • • • • • • • •

Despite animosity in the Caribbean, Haitians and Antilleans in Paris are bending genre, linguistic, and national classifications Paris is significant site of immigration for French Caribbean people since the midtwentieth century Strict immigration politics since 1990 have made legal immigration difficult for Haitians French Antilleans as citizens through their DOM or Domien status have been brought into the country since the 1950s to will post-war government positions With 337,000 Antilleans in Paris – Ile de France is equal in population to Guadeloupe and Martinique, making it the “Third” island Harder to determine Haitian population but guesses are at 50,000 As we know, Haitian music and Antillean music have been mutually enjoyed by each others’ audiences historically In Paris, konpa and zouk are frequently grouped together on radio and in performance venues and in clubes for deejayed events The pairing of the musics suggest dynamics of minor transnationalism Minor transnationalism: ““cultural transversalism includes minor cultural articulations in productive relationship with the major… as well as minor-tominor networks that circumvent the major altogether” (Lionnet and Shi 2004, p.8).

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Mutually shared spaces of musical consumption enable and promote formation of connections between Antillean and Haitian communities. Antilleans are privileged over Haitians in France because of their citizenship and larger population However, both groups experience systemic racism and discrimination for failing to subscribe to the universalist Republican ideology that drives French society Existing as minorities in France, “ the ‘minor’ network established between Haitians and Antilleans through music is an example of the kinds of minor-tominor networks that Lionnet and Shi explore, but with distinct colonial ties and prerequisites of taste. These connections are made possible, I argue, through “minoritarian politics” Minoritarian = those subjected to social hegemonies Politics = frameworks in place that allow for hierarchies and structures of engagement between and among people as well as how things are determined to have value or cultural capital For Haitians in Paris, minoritarian politics are an integral element of living under and resisting the republican ideology to which France subscribes, one that demands assimilating into a larger French community

What does this sound like? Examples Original H • • • • •

Paris-based Haitian konpa band Strategically capitalize on popularity among the Antillean population in Paris to connect with Antillean audiences in the Caribbean “In the Antilles, people are thirsty for Original H” – Jean Eudes Beauge (maestro, Original H) They also connect with the broader immigrant community in Paris through their music, evidenced in their lyrics Ex. “Sans Papiers” by Original H o Musically typical of contemporary konpa song o Lyrics discuss the plight of illegal immigrants in Europe o In Haitian Kreyol o Clips at the beginning are samples from news broadcasts discussing protests to protect illegal immigrants o “Bouger pas” (Don’t move) chants from the protests have a legacy of meaning in the context of the Sans papiers movement and have multiple meanings (We’re not moving / We are standing our ground). o Jean Eudes Beauge : This song is a tribute to all sans papiers, not just Haitians, struggling in Europe.

Milca •

Paris-based French Guiana-born singer with Haitian parents

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Known largely as a zouk singer- Antilleans see her as Antillean Nationality and music and their labels shift according to event Haitians describe Milca as Haitian (as does Milca) Milca has strategically marketed herself according to the event as Haitian or Antillean and as a zouk or konpa singer.

“Que des Mots” • • •

A zouk love song – coded as Antillean French and Creole lyrics (code-switching) Slow tempo, about relationships, zouk rhythm, synthesized

TwoubAkoustik performance • • •

“Que des Mots” – with Haitian guitar sounds Changed song for Haitian audience (adding Haitian instruments to make it sound more Haitian) Shows her

Milca feat. Passi “La Vie Va Donner” (Life is going to Give) • • • • •

Discusses the hardships people in the banlieue experience Emphasizes a diversity in audience Working with Passi (Franco-Congolese Rapper) shows increased potential audience Geographic roll-call: Call outs to Haiti (and diaspora), Brazzaville (Congo), Guadeloupe, Martinique, French Guiana, Reunion, and Africa. Video shows Haitian, Jamaican, Ivoirian flags, among others

Milca feat. Yoan “Amour Impossible” (Impossible Love) • • • •

Duet with Paris-born singer Yoan (Guadeloupean mother) Sounds like typical zouk love song (ballad, slow tempo, zouk rhythm, synthesized guitar and drum kit, French lyrics, song about “Impossible Love”). Sung in French Konpa dance section featuring konpa guitar promotes significance of Haitian music among Antillean audiences while also showing Milca’s affiliation with Haiti through music....