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IMANA by DarlinJohancyIMANA
IMANA by DarlinJohancy
IMANA
  • November 28, 2024
  • | 0

IMANA by DarlinJohancy

In Arabic, the family of words Amin, Iman or imam, imana designate faith, trust, security. This word is also present in the Swahili language (Kenya, Tanzania, East Congo Kinshasa) in the form imani: trust.

"The term Imana is not the equivalent of God-Goddess which is a Western vision of divinity. Indeed,: "the term "imana" does not designate above all a personal being that should be honored and implored, but a diffuse fluid that should be captured." In other words, Imana is a neutral vital force that manifests itself in the inner cosmos of each living being." ¹

Imana, by Michel Darlin Johancy is a musical, symphonic and spiritual journey through three geographies: an inner geography of meditation, a cultural identity journey and an artistic musical stroll. These three itineraries unfold in Haitian spaces.

This symphonic and spiritual journey takes place in 10 stages or 10 movements.

Read the article in :

French : IMANA de DarlinJohancy

Spanish : IMANA de DarlinJohancy

1- Ouvè pòt yo: the opening of the doors ::

The opening of the doors is commanded by the saxophone which plays the role of a common thread. The opening is slow as in some symphonies. This slowness allows us to gently enter an atmosphere of travel and reflection. Musically, the opening is based on the dialogue between the choir, the guitar/piano duo and jerky percussions, katap katap type.

2- Chache limyè, chache chimen mòn: the quest for light and the path of the mountain:

2- Chache limyè, chache chimen mòn: the quest for light and the path of the mountain:

“Si mòn pa bay, lavil ap peri”: if the hill does not produce, the city will perish”. The quest for the mountain is doubled by other quests: the search for effort (monte mòn), the return to the countryside, which must be revalued, and also the search for elevation of the spirit. It is like a pilgrimage. We can also lighten our multiple burdens or problems by depositing them on the other side of the mountain.

3- Incantation and crowd noise.

The saxophone introduces this sequence. We hear like the noise of a crowd marching and an incantation, a repetition, like a mantra of the name of the divinity Oloroun, from the Afro-Brazilian Yoruba pantheon.

4- Èske Bondye pale kreyòl? Does God speak Creole?
While the saxophone and katap percussions draw the path like a musical vèvè (ritual drawing), the artist wonders. Can worship be creolized? Drums and tchatchas have their place wherever the soul rises. They also punctuate our cultural identity.

5-Kote m ye? Where am I?
-

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.

6-Call the rain

"Creator of the World, you who trace all things, make the rain fall." It is a call for a nourishing and invigorating rain.

7-Pase m t ap pase: I was only passing by.

"Pase m t ap pase", this refrain, symbol of the journey, is punctuated by the percussions that play in cadence.

8-Second instrumental interlude

This interlude marks a well-paced pause of very diverse percussions, between katap and rabòday.

9-Ekri pou nou pa disparèt: writing so as not to disappear

9-Ekri pou nou pa disparèt: writing so as not to disappear

“Writing so as not to disappear, because the wind carries away the words” (Van pote pawòl ale) says Darlin Johancy. He continues: “Writing what we say and what we produce”. It is a call to protect, safeguard our creative heritage. And then above all, he affirms “mete sèl anba lan nou! Let’s put salt under our tongues! Because salt protects us from the zombification that threatens us”.

10-The alchemy of creation

First the sound of water in dialogue with the saxophone playing in soft flame, "an alchemical marriage" Darlin Johancy tells us, between water and fire. The choir returns, voices, murmurs, whispers, with, in parallel, a "marriage" katap rabòday. "It is not a coldly programmed composition", Darlin Johancy tells us, all this music and this spiritual journey met inside me. I had to put all this in harmony. It also corresponded to a time when I myself needed harmony. I hope that it will have a calming effect and conducive to meditation in those who listen to Imana. "

https://on.soundcloud.com/vwhiN

Rafael Lucas, Lecturer, teacher-researcher, University of Bordeaux Montaigne

IMANA is produced thanks to the support of the Swiss Cooperation in Haiti. Music credits:

Natzart: Lead and choirs
Ery Guillaume: Saxophone
Herbysson Pierre: Bass
Schneider Saint fort: Drums
Drums: maestro Lélé
DarlinJohancy: Composition, arrangements, production, lyricist.

¹.https://www.kugaruka.org/post/imana-le-culte-de-kiranga-ryangombe-uburundi-urwanda

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