Nanm Vodoua brings forth the fire of Ogou Feray at the French Institute

The Haïtian Compas: A Musical and Cultural Journey

Music has always been an essential part of Haïtian culture, and among the many genres that have emerged from this Caribbean island, Compas holds a special place. It is a musical style that carries with it the history, cultural diversity and vibrant energy of Haïti. b~Origins and Evolution~b The Compas Haïtien, also known as Kompa, has deep roots in Haïtian and African musical traditions. Its development was influenced by genres such as Dominican merengue, Cuban salsa, jazz and even rock. This fusion of styles has resulted in a distinctive sound that embodies the cultural richness and diversity of Haïti. The Haïtian Compass has evolved over the decades, moving from a more traditional style to more modern and sophisticated forms. Iconic artists such as Nemours Jean-Baptiste and Tabou Combo helped shape the genre and propel it onto the international music scene. b~The Characteristics of the Compass~b Le Compas Haïtien is characterized by its intoxicating rhythm and complex arrangements. Traditional instruments such as guitar, saxophone, drums, and of course, bass, play a crucial role in creating this catchy music. The lyrics, often sung in Haïtian Creole, address varied themes, from love and joy to social and political issues. Dance is an inseparable component of the Haïtian Compass. The irresistible rhythms encourage the dancers to sway to the music. Traditional dance moves, such as "Kompa Direk" and "Kompa Love," reflect the joyful expression and sensuality that characterize this musical genre. b~Global Influence~b Over the years, the Haïtian Compas has transcended the borders of Haïti to conquer the international stages. Haïtian artists helped popularize the genre around the world, bringing with them the warmth and vitality of Haïtian culture. Music festivals dedicated to Compas attract fans from around the world, providing an immersive experience of this catchy music. The Haïtian Compass is much more than a musical genre; it is a standard bearer of Haïtian culture, a mirror reflecting the history, diversity and resilience of the Haïtian people. Discovering the Haïtian Compas means diving into a world of captivating rhythms, passionate dances and captivating stories, while celebrating Haïti’s unique musical heritage. Whether you are a world music lover or simply curious about new experiences, the Compas Haïtien is an invitation to an unforgettable sound journey.

Pity or the work of an old soul crushed under the weight of an absinthe-flavored existence

The word crisis carries an infinite number of meanings. No intention of revealing them all this afternoon. However, a few clarifications are necessary. A kid whose parents do not have enough money at Christmas to buy her a Little Black Mermaid doll has a fit and locks herself in her room without touching her meals for the day. A boy whose dog was suddenly poisoned by a neighbor in revenge or shot after contracting rabies, losing a faithful friend overnight, enters into crisis. Finally, a society in the grip of all sorts of mutations and whose leaders are weak, perhaps prolonged in a deep crisis. In the first case, the young girl sulks to attract the attention of her parents in order to feel appreciated by children her age at school or in the neighborhood. Today, thirty minutes of negotiations can be enough to find a lasting solution. In my day, a few well-aimed belt blows would have overcome this whim. But, humanity evolves, they say. In the second case, this boy can find his smile again after a few weeks. He needs a little attention and, probably, another dog. As Stendhal would say, only passion triumphs over passion. In the last case, this society led by inepts is shaken to its deep foundations. Its institutions can disintegrate one by one. The vital forces dissolve in no time. This situation creates a societal tsunami that destroys all life within this community. It is indeed a crisis. The crisis from this point of view constitutes an alarming, desperate situation in the existence of a community where nothing is going well. Chaos reigns supreme. The very essence of life disappears. The individual can take precedence over the community. Everyone tries to solve their problems without worrying about others. The closest neighbor is relegated light years away from you. How can we turn to creation? How can we continue to conceive of otherness? How can the artist absorb this great collective disarray as a source of motivation? These are the questions I must answer. An artist sees and feels what ordinary mortals cannot even imagine in a thousand-year life. He creates to denounce, when his conscience as a human being is revolted. He exalts heroes or the homeland according to his feelings. He sings the beauty of an irresistible, captivating or ugly resplendent woman. He can also use the ambient desolation to give meaning to life. Creating in literature as in the arts in general does not depend on the situation. The act of creation depends on the creator’s disposition. Events paralyze some and galvanize others. Creating is enjoyable. Everyone therefore enjoys according to their own whim. Writing opens the way to change. The writer takes a different look at the world. By embedding himself in reality, he embellishes it, makes it better or hideous depending on the message he intends to share. All things considered, with him, life is never fixed. Writing is putting the world in a jar to travel the universe. The artist broods over his work in all weathers. Oswald Durand was delighted to see Choucoune’s beautiful body from his secret observatory. Musset, on the other hand, was in pain writing his October night. As for Dany Laferrière, in exile, he described the horrors of the Duvalier dictatorship and the carefree attitude of the young girls in his neighborhood in this violent and dangerous world. Ultimately, the writer lives in a society with values ​​that he shares or not. They condition his existence or have no hold on him. In many ways, the surrounding world serves as his laboratory. He carries out his experiments there. He casts a new, worn, disillusioned, melancholic, violent, bitter look at the world depending on his mood. Pitié is the work of an old soul crushed under the weight of an existence that tastes of absinthe. Young Mike Bernard Michel lives by expedients and lies. The hands of life fall on him with indescribable violence. Misfortune embraces him day and night. Should we give up? Musset liked to say: "Man is an apprentice, pain is his master. And no one knows himself until he has suffered." The artist must produce under all skies. Such is his vocation. Incompetents in power, legal or highway bandits, the high cost of living, unemployment, heartaches are all subjects of concern for him. If it is true that a hungry belly has no ears, the fact remains that it keeps the brain awake. What am I saying, it stimulates it to the point of creating timeless works. Mr. Pitié, you have a bright future ahead of you. Work of Jean Rony Charles, the book is available from Éditions Repérage.

The Monferrier Dorval Chair of Constitutional Law, a gesture from the State University of Haiti, for the preservation of the memory of Professor Dorval

The Monferrier Dorval Chair of Constitutional Law is a high-intellectual-intensity initiative, taken by the State University of Haïti (UEH), through the leadership of its rectorate, in agreement with the leaders of the Faculty of Law and Economics (FDSE). The initiative’s primary goal is to honor and perpetuate the memory of the valiant and brilliant Professor Monferrier Dorval, assassinated in unclear circumstances, about three years ago. And in order to make a scientific contribution to the great debate that has been going on in Haitian society for about ten years about the need to change or not, the constitution of March 29, 1987, amended on May 11, 2011. Shouldn’t we try to apply it preferably? If it needs to be changed, should this change be radical, otherwise what should it have in terms of change within a new mother law for a better institutional organization of Haiti. The chair is scientifically chaired by Professor Henri Marge. Dorléans, (current head of AFPEC), and is vice-chaired by the dean of the faculty of law and economics, Me Eugène Pierre Louis. The Chair is materialized by a set of conferences and debates (15 in total), which take place in the premises of the Office of the Protection of the Citizen OPC, under the name of Wednesday of the Monferrier Dorval Chair. It is in this sense that for the fifth edition of the Wednesday of the chair (which took place this Wednesday, October 9, 2024 at the OPC, in the presence of the protector of the citizen, Me Renan Hédouville), attention was placed on education within the debate surrounding the possible development of a new constitution for Haiti. This 5th meeting took place under the theme of: "Education, Teaching, Research, Science and Technologies". The conference was hosted by three greats of the Haitian intellectual community, including two eminent professors of the UEH, namely, Professor Odonel Pierre Louis, academic director of the École normale supérieure (ENS); the vice rector of the UEH, Professor Jacques Blaise. Their interventions were followed by that of the director of the national institute of vocational training (INFP) Mr. Dikel Delvariste.

Made in Haïti in the spotlight at the “El Rancho” convention center

On Saturday, July 13, 2024, the El Rancho Convention Center hosted the Made in Haïti Expo (MIH Expo), a major event aimed at promoting Haitian know-how and local industries. Organized in partnership with the Ministry of Commerce and Industry, the Association of Industries in Haïti (ADIH) and various other companies, this exhibition highlighted the richness and diversity of Haitian products.

Haitian Bonbon Syrup Recipe: A Traditional Soft and Spicy Molasses Dessert

Bonbon Syrup is a traditional Haitian dessert that’s perfect for any occasion. It’s rich, moist, and full of flavor. Haïti Wonderland offers a simple and easy-to-follow recipe for this delicious dessert.

Haiti: Carnival and Rara: Crossed Perspectives on Culture and Haitian Identity

In our tradition, carnival represents an essential cultural activity. Indeed, for the holding of it this year, the State had drawn from the public treasury not only a huge sum but also a strong concentration of law enforcement to ensure the protection and security of carnival-goers in the area. metropolitan. Despite numerous criticisms and concerns expressed by certain media on the one hand, then on the other hand by the democratic opposition. While it is true that in Port au Prince these concerns had had a no less valuable consequence on the progress of this festivity. It is no less true that this was the case in other provincial towns, as proof in the southeast department the authorities did not record anything as an element of accident or incident during the progress of the carnival unlike Port au Prince. Certainly, socio/economic problems are increasingly worrying, nevertheless what makes us what we are today, a free and independent people is none other than our exceptionality. This deeply expresses our intrinsic characteristic in relation to people. In fact, historically we are a people who laugh and cry, smile and irritate, dance and hit the system, sing and fight so well that "grenadya alaso sa ki mouri zafè ya yo" is the most emblematic song of the slaves for the conquest of our freedom. We do not intend to claim that those who expressed their disagreement with the carnival are showing a historical deficit. However, we leave in the shadows a fundamental question: why is carnival taken care of by the State while the rara is like an abandoned child? The rara is not only a simple cultural tradition but, above all, it is the heritage of our valiant warriors who bravely fought the French expeditionary army, the most powerful of the time. While, this mass cultural, she is still marginalized by state authorities. It is emphasized that social cohesion is the dead point of carnival. On the other hand, this is the strong point of rara. As proof, the Thursday of the Dead in our Voudouesque tradition which represents the opening ceremony for the rara bands is the blatant testimony of this social cohesion. And, in fact, there were circles of people who took divergent directions to attend the opening ceremony of their rara bands. For this opening ceremony the atmosphere was a taste of carnival in terms of color. On the side of Croix Hilaire, for the title champion Ratyèfè full force band, the color of his club was very diverse, a long dress of apricot yellow, mauve white, then white scarf. In terms of performance, this band had completely proven its champion skills thanks to its arsenal of musicians who were not in their testing phase. To tell the truth, they performed their note with surgical precision as a doctor-surgeon in his surgical procedure. The synchronization between the musicians, the instruments and then the fans form a whole and harmonize perfectly well. This band not only has the magic of words and verbs, it seems that they also have the magic to thrill even the most reluctant fans. Moreover, his performance for this dead Thursday was a challenge for his rivals this weekend to the extent that their performances were less good. On the symbol side of light, Grap Kenèp was the wonder of the Thursday evening of the dead. His club dressed in the appropriate color for this evening, purple scarf, purple jersey, then white “kolan”. In a symbolic way, this marriage of color represents Baron in Haitian Vodou. Without a doubt, it was the most beautiful symbolic representation of the evening. In terms of performance, returning from the cemetery we felt a very strong warmth of jubilation, elation, and playfulness for a completely balanced performance. As far as Chenn Tamarin is concerned, it was already 2 a.m. when our team met him, it was a less good performance than what we were accustomed to. On the symbolic side it leaves something to be desired. His news was that he had his own media. Petit-Goave/Culture and Society