Edited by Azizi Powell
This pancocojams post provides information about and YouTube examples of Gwoka drumming, dancing, and singing/chanting from Guadeloupe which is located in the Caribbean.
The content of this post is presented for historical, folkloric, cultural and educational purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post.
****
ARTICLE EXCERPTS
Excerpt #1
From https://ich.unesco.org/en/RL/gwoka-music-song-dance-and-cultural-practice-representative-of-guadeloupean-identity-00991
Gwoka: music, song, dance and cultural practice representative of Guadeloupean identity…
Inscribed in 2014 (9.COM) on the Representative List of the Intangible Cultural Heritage of Humanity
© 2013 by REPRIZ
"Gwoka is found among all ethnic and religious groups of Guadeloupean society. It combines responsorial singing in Guadeloupean Creole, rhythms played on the Ka drums and dancing. In its traditional form, Gwoka unites these three areas of expression and emphasizes individual qualities of improvisation. The participants and public form a circle in which dancers and soloists enter in turn and perform, facing the drums. The public claps and takes up the chorus from the soloist. Several thousand people regularly practise Gwoka at open-air Gwoka evenings, where the dance circle functions as a place to develop individual talents. Transmission of the practice and Ka drum-making skills is both informal through families and groups of friends, but also increasingly through formal workshops and schools of traditional dance and music. Gwoka is one of the most identifiable elements of Guadeloupean society and its contemporary expressions explore new avenues of music, choreography or singing. It is present at the high points of daily life, as well as at festive, cultural and secular events. It also accompanies movements of social and political protest. It strengthens identity and provides a feeling of communal development and individual pride, conveying values of conviviality, resistance and dignity."
****
Excerpt #2
From https://en.wikipedia.org/wiki/Gwo_ka
"Gwo ka is a French creole term for big drum. Alongside Gwotanbou, simply Ka or Banboula (archaic)[1] [correction: Bamboula], it refers to both a family of hand drums and the music played with them, which is a major part of Guadeloupean folk music. Moreover, the term is occasionally found in reference to the small, flat-bottomed tambourine (tanbou d'bas) played in kadri music, or even simply to drum (tanbou)in general.[1]
The Gwo Ka musical practice emerged in the seventeenth century, during the transatlantic slave trade[2]
Seven simple drum patterns form the basis of gwo ka music, on which the drummers build rhythmic improvisations. Different sizes of drums provide the foundation and its flourishes. The largest, the boula, plays the central rhythm while the smaller maké (or markeur) embellishes upon it, inter-playing with dancers, audience or singer. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, and is accompanied by uplifting and complex harmonies and melodies.[citation needed] There are also dances that tell folk stories that are accompanied by the gwo ka drums.
In modern, urban Guadeloupe, playing drums is not inextricably linked to dance anymore. But historically, the two practices were inseparable parts of the tradition of léwôz, events held fortnightly on Saturdays near the bigger plantations (payday), and each Saturday of the carnival season in areas of greater land parcelling.[1] Gwoka music was–and still is–played throughout the year in various cultural manifestations such as léwòz, kout’tanbou, véyé and religious events, for example Advent’s wake.[2] Today, rural Guadeloupans still gather for léwôz experiences, but a modernized and popularized form of gwo ka exists independently, known as gwo ka moderne.
History
The Gwo Ka musical practice emerged in the 17th century during the transatlantic slave trade, as a result of a creolization process: adaptation to surrounding context and assimilation of European cultural elements. African slaves of Guadeloupe used to gather to play drums, sing and dance. The use of any kind of drum was at that time forbidden by the Code Noir. As a consequence, slaves used a vocal technique called bouladjèl, which imitates drums. At that time, Gwoka practice was directly linked to agricultural work, especially sugar cane, coffee and banana cultivation.[2]
Post 1946, along with anti-assimilation and anti-colonialism movements, Gwoka spread throughout the island, which marks the beginning of its rehabilitation process. As a consequence, in 1988, lawyer and nationalist activist Félix Cotellon created the Festival de Gwoka Sentann in the city of Sainte-Anne without the support of the municipality. Studies and symposiums were held on the occasion.[2]
In 1981, local musician Gérard Lockel published the Traité de Gwoka modên, the first attempt to formalize this musical genre. [2]. He claimed that Gwoka was atonal, breaching with western conventions and tastes. By affirming the modality of Gwoka, he situated this music style within the realm of African musical traditions.[3] Paradoxically, under Lockel's leadership, Gwoka was transformed from a participatory music played outdoors to a presentational music played on stage with European and North American instruments.[4]
Musical research show that the instrument can find its roots in the drums and songs of the West African countries (Guinea gulf, Congo...)[citation needed]. From the diverse music and dance of their homelands, the slaves elaborated a communication tool, a new form of art, like the creole language: the Gwo Ka.[citation needed] This musical genre is characterised by an African typology[citation needed]: - repetitive form - improvisation - physical movements linked to music - a response between a soloist and choir - a syncopation weak times
Instruments
Traditional gwo ka is ideally played with at least 2 hand drums (ka in créole): 1 boula and 1 make[1]. Historically, ka were made of:
a recycled cured meat keg for the body[1][5] (bari a vyann or bouko in créole);
a goat skin (po a kabrit in créole) — male for the boula vs. female for the makè[6];
tensioning metal hoops (sèk, i.e. circle in créole)[6];
wooden tensioning pegs (klé in créole)[6];
rope (zoban in créole)[6].
Often, the Ka section is further accompanied by[6]:
ti-bwa: 15 to 20 cm wooden sticks drummed on the side of a "Ka" or a section of bamboo culm of about 15cm in diameter;
chacha: emptied & dried calabash — or any other container — filled with a granular material (e.g. grains, salt, sand...).
Rhythms
The influences (lifestyle and musical genre) of the "master" fusioned with this base to create the seven rhythms or dances:
The léwôz is the war rhythm, used to give rhythm the attacks against the plantations, but was also an incantation dance;
The kaladja symbolises the struggle in love;
The toumblak, like the kaladja, deals with the love theme, belly dance, fertility dance;
The padjabèl is the cane cutting dance;
The graj accompanies the agricultural work;
The woulé is the "creole waltz", to charm and mimic the whites;
The mendé would have been the last rhythm to arrive in the islands, with the "Congos" under contract after the abolition, and symbolises the collective celebration of carnival.
Dance
“Gwo-ka is a dance of improvisation by excellence, a dance of the instinct, of the moment. (…) Gwo-ka, dance of resistance, of resilience and adaptation: Dance of Life”[7]
Gwo ka moderne
A more modernized version of gwo ka is gwo ka moderne, which adds new instruments ranging from conga or djembe drums and chimes to electric bass guitar. At root, however, these styles all use the same fundamental seven rhythms as folk gwo ka. Zouk legends Kassav' played an important role in the modernization of gwo ka, giving urban credibility to a style that was seen as backward and unsophisticated; they initially played in a gwo ka format, using songs from the gwo ka Carnival tradition of mas a St. Jean and even placing a homage to traditionalist drumming legend Velo on their earlier albums.[8]
Gwo ka moderne artists include Pakala Percussion, Van Lévé and Poukoutan'n, alongside more pop-influenced musicians like Marcel Magnat and Ti Celeste, while Gerard Hubert and others have fused gwo ka with zouk. The most famous modern gwo ka performer, however, is William Flessel, whose Message Ka in 1994 became an international hit.[8]
In 2013, the Heritage Committee of the Ministry of Culture and Communication has selected the intent to apply of gwoka for registration to the Representative List of the Intangible Cultural Heritage of Humanity in order to enhance the gwoka and organize a network of actors.[9]
In 2014, the Heritage Committee recognized gwoka in the Representative List of the Intangible Cultural Heritage of Humanity”…
"Stylistic origins: West Africa
Cultural origins: 17th century, Guadeloupe
Typical instruments:
Traditional: the boula, playing the central rhythm and the smaller, markeur (or maké), as well as a chak chak (a maracas).
Contemporary: boula and maké drums, maracas, conga or djembe drums, chimes and electric bass guitar.
Derivative forms: Gwo ka moderne, biguine, chouval bwa, zouk, zouk love"...
****
PANCOCOJAMS EDITOR'S NOTE & "AFRICAN ROCK" BOOK EXCERPT
Since I happened upon the Afro-Zouk song "Adia" by Oliver N'Goma earlier this week while surfing YouTube, I've become fascinated with that music genre (or sub-genre). Here's a link to Part I of a two part pancocojams series on that song: http://pancocojams.blogspot.com/2018/07/gabonese-singer-oliver-ngoma-adia-part.html. The link for Part II is given in that post.
When I found very little about Afro-Zouk music online, it occurred to me that some time ago I purchased a 1990 book entitled African Rock: The Pop Music Of A Continent by Chris Stapleton and Chris May (Dutton, New York). Thankfully, that book included some information about the origins of Zouk and about the early days of Zouk in Africa.
Excerpts from that book are quoted in these two pancocojams posts:
http://pancocojams.blogspot.com/2018/07/excerpts-about-kassav-band-and-excerpts.html "Excerpts About The Roots Of Zouk Music From The 1990 Book "African Rock: The Pop Music Of A Continent", Part I
http://pancocojams.blogspot.com/2018/07/excerpts-about-kassav-band-and-excerpts.html "Excerpts About Kassav Band And Excerpts About Zouk In Africa From The 1990 book "African Rock: The Pop Music Of A Continent"
Here's one passage from that book that includes information about Gwoka [This passage is included in Part I of that above mentioned pancocojams series]
"[page 243]
THE ROOTS OF ZOUK
It is clear, then, that zouk is a Caribbean melange filtered through Parisian culture. But its roots lie deep beneath this hi-tech mirage: they are from the same source, west African polyrhythms and harmony, as are salsa, calypso, reggae and blues. But in zouk's case the African retentions are twice removed- first to the Caribbean, then to Paris. And zouk's basket of Caribbean influences show a fascinating marriage of colonially imported styles, like European beguines,
[page 244]
quadrille and mazurkas and African drum-ensemble practices.
Of the African styles which survived the diaspora and lived on in Guadeloupe and Martinique to resurface in zouk, one, the Saint Jean rhythm, a fast sambaish carnival beat from Guadeloupe, has its origins in Bantu religious ceremonies. Guadeloupe, due to the historic neglect of the French, has been able to hold on to African percussive skills and religion-focused music more easily than Martinique, which has been historically, more favored by the French, as the Parisian bourgeoisie's Caribbean playground. The Saint Jean rhythm was popularized by Kassav when using the pseudonym Soukou Ko Ou on their monster 1984 disc "Vacances". The exhilarating, circular dance beat is ingeniously modernized by P. E. Decimus and the band; it even includes Shadows-sounding guitar.
More importtant African retnetions in zouk are, however, the tambour drum triumvirate-the two gwo ka and the one ti bwa drums. Here is the African strand in Antillean Creole life standing proudest and loudest: ka drums are the most African of all things Antillean.
Tambour music, called waka waka, has been recorded only since the mid-seventies, when the casdence of the Vikings triggered the unearthing of indigenous styles previously heard only at carnivals and festival time, when across Guadeloupe's hills, from village to village, the messages and anecdotes-a direct line from early days- of the ka drums would ring out. Since the mid-seventies, however, record stores stock tambour music and the records are played on some of the islands' fifteen radio stations.
[...]
Gwo ka was brought in by P.E. Decimus to the Vikings and from then on was the rhythmic centre of cadence and its cosmopolitan child zouk. Top zouk singers Sartana and Pier Rosier never perform or record without the requisite ka section and the hottest new wave zouk of '87, for example Sevais Liso and Ramon Pyrme's Zouk Time, dsiplay a new, more minimal use of ka within an uncluttered synthesizer-sculpted framework. But it was P.E. Decimus who first took the ka unit to Paris and Kassav who first set such a pure African retention alongside elements which could not be further removed from African tribal origins."
****
SHOWCASE VIDEOS
Example #1: GWO KA made in Pointe a Pitre (Guadeloupe)
Natychrys, Published on Oct 26, 2007
En plein centre ville, plusieurs groupes de Gwo Ka font le spectacle tout les samedi et ce pour le plaisir de tous...
Bon visionnage.
-snip-
In the city center, several groups of Gwo Ka make the show every Saturday and this for the pleasure of all ...
Good viewing.
-snip-
Selected comments from this discussion thread (numbers assigned for referencing purposes only)
1. Cassius Gwada, 2012
"Gwada l'authentik, fiere d'etre Afro-caraïbéens, le son du Gwoka me ressource!!!! Unissons nous peuple de la caraïbe et revendiquons nos racines africaines!!!!"
-snip-
"Gwada l'authentik, proud to be Afro-Caribbean, the sound of Gwoka me resource !!!! Unite us people of the caribbean and claim our African roots !!!!"
**
2. SuperSainteNitouche, 2012
"le gwo ka et le mennde me rappellent mon enfance en Cote d'Ivoire quand on allait regarder les danseuses de Djembe. le tam tam ou djembe ou gwo ka joue un role tres important dans notre culture et voir cette video me donne des frissons. Nous ne sommes pas aussi differents que nous croyons. Nous avons la meme mere qui est Mama Africa et nous gagnerons a etre unis.!!!"
-snip-
"the gwo ka and the mennde remind me of my childhood in Ivory Coast when we went to watch dancers Djembe. the tam tam or djembe or gwo ka plays a very important role in our culture and seeing this video gives me chills. We are not as different as we believe. We have the same mother who is Mama Africa and we will win to be united !!!"
****
Example #2: Gwo ka - 1 petit bout de chou danse regardez!
lagoyave, Published on Jul 22, 2011
Genre: gwo ka music - Guadeloupe
LISEZ!!! Bay lavwa pou toupiti, la relève. Woulo bravo. Fòs
Sincèrement désolée, détérioration du son après téléchargement sinon je n'ai pas ce son saturée dans mon fichier original. Vous avez vu cette petite? Wouah et encore je n'ai pas pu tout filmer, je la regardais! :)
WANT TO KNOW MORE? VOUS VOULEZ LES CONTACTER? ALLEZ SUR FACEBOOK
FB Association: Force Antillaise
Chant: Alex Lipau
Makè: Titchou
Boula droite: Jonas Fila
Boula gauche:
Chacha: Madison, José Darin
Petite Maé,lol, la maman et papa Lipau: Africa-Antilles = ONE LOVE et merci pour la discussion et autant de sagesse.
Bon comment vous le dire: Eh les Gwada, Madinina, 973, 974 en force ok?! lol Soutenons la créativité, le talent, la persévérance de nos compatriotes en banlieue, peu importe l'endroit où vous ferez votre captation. Valorisez justement notre patrimoine, notre culture. Elle a à peine 3 ans vous vous rendez compte? Filmez, filmez, filmez, demandez l'autorisation, valorisez notre culture où que vous soyez, je ne peux pas vous le dire autrement. Si vous parlez une langue étrangère ou plusieurs, traduisez, expliquez? Moi en fait, je clarifie beaucoup en MP en Anglais ou en Espagnol donc je ne sous-titre pas mes vids (pas le temps non plus!).
Donc Maélys et son papa le sympathique Alex Lipau au chant: un gars simple, honnête et très réaliste sur le gwo ka d'hier et d'aujourd'hui en région Parisienne. Le gars est vrai, à l'image des gens authentiques que j'aime.
FB Association: Force Antillaise
Chant: Alex Lipau
Makè: Titchou
Boula droite: Jonas Fila
Boula gauche:
Chacha: Madison, José Darin
-snip-
Google translate from French to English:
Ead !!! Bay lavwa for toupiti, the relief. Woulo bravo. FOS
Sincerely sorry, sound deterioration after download otherwise I do not have this sound saturated in my original file. Did you see this girl? Wow and again I could not film everything, I was watching! :)
WANT TO KNOW MORE? DO YOU WANT TO CONTACT THEM? GO ON FACEBOOK
FB Association: Caribbean Force
Song: Alex Lipau
Makè: Titchou
Right Boula: Jonas Fila
Boula left:
Chacha: Madison, José Darin
Little Mae, lol, mom and dad Lipau: Africa-Antilles = ONE LOVE and thanks for the discussion and as much wisdom.
Good how you say it: Hey Gwada, Madinina, 973, 974 in force ok ?! lol Let us support the creativity, the talent, the perseverance of our compatriots in the suburbs, no matter where you make your capture. Value our heritage, our culture. She is barely 3 years old do you realize? Film, film, film, ask permission, value our culture wherever you are, I can not tell you otherwise. If you speak one or more foreign languages, translate, explain? Me in fact, I clarify a lot in MP in English or Spanish so I do not subtitle my vids (no time either!).
So Maélys and his dad the friendly Alex Lipau singing: a simple guy, honest and very realistic on the gwo ka yesterday and today in the Paris region. The guy is true, like the authentic people I love.
****
Example #3: Fête de la musique 2012 Gwoka Paris
Lasko Châline, Published on Jun 22, 2012
Kout Tanbou à Paris St Michel
-snip-
If I'm not mistaken, the West African djembe [pronounced the same as the English words gym-bay] is the middle drum in this video. Djembes aren't traditionally part of Gwoka.
****
Example #4: Les 7 rythmes du Gwoka. Original.
Alain Duchange MAP - MAP Alizés
Published on Apr 19, 2014
Par Yves Thole maître d'art et maître Ka. Images Alain Duchange, Akajaklin.
****
Example #5: REPORTAGE GWOkA GUADELOUPE MARS 2016( Rachel LE NAN/ kipes Radio TV)
KIPES RADIO TV, Published on Apr 9, 2016
"L'objectif de Rachel" , met à l'honneur le Gwoka.....Immersion totale en Guadeloupe..
Merci à tous d'avoir accepté mon objectif !
-snip-
Google translate from French to English:
"The goal of Rachel", puts the spotlight on the Gwoka ..... Total immersion in Guadeloupe ..
Thank you all for accepting my goal!
-snip-
Selected comments from this discussion thread (numbers assigned for referencing purposes only with Google translations from French to English given below the comment)
1. wpj percussion, 2017
"le gwoka j'adore jouer ce style de tambour ces rythms de racine africaine mais joués aux antilles"
-snip-
"the gwoka I love playing this style of drum these rhythms of African roots but played in the Caribbean"
**
2. Bwalewoz A, 2017
"De longues secondes de gros plan sur le KA ,sur les mains du tanbouyê ( le markê dénommé DIXIT Marc)....un pur régal ...merci Monsieur le virtuose, merci à vous les danseuses, vous gérez !
A 8:35 à peu près , un de nos plus grands artistes gwoka passe et repasse : Mr Ladrezeau pour ne pas le nommer, " locksé" de partout ...mdr"
-snip-
"Long seconds of close-up on the KA, on the hands of the tanbouyê (the markê called DIXIT Marc) .... a pure treat ... thank you Mr. virtuoso, thank you to the dancers, you manage!
At about 8:35, one of our greatest artists gwoka passes and repasses: Mr Ladrezeau not to name it, "locksé" everywhere ... lol"
**
3. Ibrahima S, 2017
"Cette danse est d'une très grande beauté. Elle mérite d'être mieux connue partout dans le monde : Europe, Afrique, Amérique du sud. Bravo Guadeloupe. De la part d'un africain qui adore votre culture"
-snip-
Ibrahima S, 2017
"This dance is very beautiful. It deserves to be better known all over the world: Europe, Africa, South America. Bravo Guadeloupe. From an African who loves your culture"
**
REPLY
4. Francis Hatilip, 2018
"Ibrahima S le gwo n'est seulement une danse,c'est aussi le tambour traditionnelle de la Guadeloupe comportait 7 rythmes:le toumblak,le Mendè,le graj,le kaladja,le woule,le padjanbel et,les lewoz de basse terre et,de grande terre,reconnu à l'UNESCO"
-snip-
"Ibrahima S the gwo is [not]* only a dance, it is also the traditional drum of Guadeloupe included 7 rhythms: toumblak, Mendè, graj, kaladja, woule, padjanbel and, lowland lewoz and , of great land, recognized at UNESCO"
-snip-
I added the word "not" as I think its addition fits the meaning of the sentence.
**
5. Bwalewoz A, 2017
"La fierté du peuple Guadeloupéen est de faire briller et d'élever au plus haut le GWOKA, ces rythmes,cette danse que nous tenons de nos ancêtres et qui n'ont pas arrêter d'évoluer grâce au travail de nos artistes musiciens, chorégraphes , danseurs, fabricants de KAS, autant dans la création que dans la transmission des savoirs . BIG up!"
-snip-
"The pride of the Guadeloupean people is to shine and elevate the GWOKA, these rhythms, this dance that we hold of our ancestors and which did not stop evolving thanks to the work of our artists musicians, choreographers, dancers, manufacturers of KAS, as much in the creation as in the transmission of knowledge. BIG up!"
**
6. PrekeseGlobalTravel Tukwankohwe, 2017
"That's a superb dancer right there. Good job."
**
REPLY
7. Ludivina Nieto, 2017
"Elle est magnifique !!! Et les musiciens top !"
-snip-
"She is magnificent !!! And the top musicians!"
**
8. Sarah Alves, 2018
"Se assemelha com carimbó aqui do Pará/Brasil"
-snip-
"It resembles carimbó here from Pará / Brazil"
**
9. Bwalewoz A, 2018
"Les 7 rythmes du Gwoka et leur signification
Léwòz : rythme de guerre, souvent dansé par des hommes, le lien entre danseur et marqueur est très fort. Imitation de dispute ou coup porté, on retrouve aussi souvent le déséquilibre appelé le « bigidi » qui renvoie à l’ivresse des danseurs.
- Toumblak : rythme enjoué et festif, danse de l’amour qui génère des postures suggestives en danse. Joué rapidement il se nomme toumblak « chiré ».
- Kaladja : rythme joué souvent lent (peut être joué rapidement également) qui évoque la souffrance, la tristesse.
- Graj : rythme lent rappelant le travail pénible aux champs et la souffrance qui en découlait, la danse imitant souvent les gestes de récolte.
- Woulé : sorte de valse, c’est aussi un rythme de travail comme le graj.
- Menndè : rythme enjoué, rapide, utilisé aussi pour le carnaval. Rythme de fête et de désinvolture.
- Padjanbèl : rythme de travail qui relie la terre et le ciel, symbole à la fois de la dureté du travail au sol et de l’élégance flottante dans l’air. (source: "Moun à Gwoka/ projet de Marie-charlotte Loreille)
-snip-
"The 7 Gwoka rhythms and their meanings
Léwòz: rhythm of war, often danced by men, the link between dancer and marker is very strong. Imitation of argument or blow worn, we often find the imbalance called the "bigidi" which refers to the drunkenness of the dancers.
- Toumblak: playful and festive rhythm, dance of love that generates suggestive postures in dance. Played quickly it is called toumblak "chiré".
- Kaladja: rhythm played often slow (can be played quickly also) that evokes suffering, sadness.
- Graj: slow rhythm recalling the painful work in the fields and the suffering that ensued, the dance often imitating the gestures of harvest.
- Woulé: a kind of waltz, it's also a rhythm of work like the graj.
- Menndè: playful rhythm, fast, used also for the carnival. Rhythm of celebration and casually.
- Padjanbèl: a working rhythm that links the earth and the sky, symbol of both the hardness of the work on the ground and the floating elegance in the air. (source: "Moun to Gwoka / Marie-charlotte Loreille's project)"
****
Thanks for visiting Pancocojams.
Visitor comments are welcome.
Showing posts with label Guadeloupe music and culture. Show all posts
Showing posts with label Guadeloupe music and culture. Show all posts
Friday, July 13, 2018
Friday, June 2, 2017
Stevy Mahy featuring James Germain - "Haitian Cherie" (video & lyrics)
Edited by Azizi Powell
This pancocojams post provides information about Stevy Mahy and showcases a video of Stevy Mahy and James Germain singing "Haitian Cherie"["Dear Haiti"}. The English translation for that song's Haitian Creole lyrics is also included in this post.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Othello Bayard for composing the poem that became this song. Thanks also to Stevy Mahy and James Germain for their musical performances. Thanks to all those who are quoted in this post and all those who produced this video Also, thanks to the publisher of this post on YouTube.
****
INFORMATION ABOUT STEVY MAHY
From https://translate.google.com/translate?hl=en&sl=fr&u=https://www.last.fm/fr/music/Stevy%2BMahy/%2Bwiki&prev=search [translated from French to English]
"Stevy Mahy is a Folk Trilingual (English, French and Creole) native of Guadeloupe.
From a father and a mother to musicians and singers, Stevy Mahy goes early to pace recording studios or rehearsals, so naturally she will record songs such as "manman dépi ou pati" or "I want a Little brother "with [her] mother, that of the age of 9 years.
Then it is a succession of travels, meetings, musical collaborations.
And then his taste for the image, the realization will take the step.
After a short stay in London, she decided to turn to the United States ...
Always beautiful encounters ...
But finally her first love catches up with her ... She has to sing ...
An envy that coincides with her return to Guadeloupe for her who is born in Paris and spends part of her childhood in Guadeloupe.
"All my departures take me back to Guadeloupe".
A place where finally its complexity of Creole woman find a jewel case.
She finds herself, re-sources herself and rehearses buried melodies.
It is also at this moment that she meets a talented artist, Victor'O.
A friendship is born which will give birth to a song on the album of "Inspire Me":
The story of the true power of friendship that inspires strength and courage, but also the bond that is established between angel and protégé.
A beautiful encounter that hides another.
When recording "Inspire Me", Stevy meets Joel Jaccoulet (author, composer, producer).
The composition process starts almost intuitively.
A late afternoon, set on the terrace, the words and melodies of "Beautiful" take shape ...
Kreyol folk becomes the best defining term for this encounter and the musical universe of Stevy Mahy. English, Creole, French ...
A Creole woman open to the world and yet well inscribed in her environment.
[Her] album "The Beautiful Side of a Kreyol Folk Trip" is an invitation to a beautiful journey through [her] musical influences flourishing the Soul, Lauryn Hill and the sounds of Creole music.
-snip-
The pronoun "her" is in brackets because the translation feature's default is male pronoun.
****
SHOWCASE VIDEO: HAITI CHERIE - Stevy MAHY feat. James Germain (official HD video)
B Caribbean, Published on May 12, 2012
http://itunes.apple.com/fr/album/hait...
Fruit de sa rencontre avec Haïti ,Stevy MAHY nous livre aujourd'hui son premier single inédit depuis la sortie en 2010 de son album «the Beautiful side of a kreyol folk trip».
Avec la participation du chanteur haïtien James GERMAIN le titre HAITI CHERIE se veut le trait d'union entre nos histoires si proches,si riches,unies dans une même souffrance originelle et sublimées par la créativité et l'intelligence des hommes et femmes qui les ont incarnées...
«nou sé an sel pep dessan an ba kal a machan...vou epi mwen sé mem bagay...sé mem bitin...»
HAITI CHERIE qui à été enregistré en partie à Port au Prince,dans les hauteurs de Pétionville,est un mélange subtil de mélancolie et d'espoir porté par deux voix uniques unissant leur talent pour la première fois...pour nous dire ces mots simple et justes :
«Haiti cherie la vi pa fini....»
-snip-
(Google translate from Haitian Creole to English)
"Stevy MAHY is the first of its kind to be releas:ed in Haiti today, with his debut album "The Beautiful Side of a Kreyol Folk Trip".
With the participation of the Haitian singer James GERMAIN the title HAITI CHERIE wants to be the link between our stories so close, so rich, united in the same original suffering and sublimated by the creativity and intelligence of the men and women who have them incarnated ...
«Nou se an salt pep dessan an ba kal a machan ... you epi mwen se mem bagay ... se mem bitin ...»
HAITI CHERIE which was recorded partly in Port au Prince, in the heights of Pétionville, is a subtle mixture of melancholy and hope carried by two unique voices joining their talent for the first time ... to tell us these simple words And fair:
"Haiti cherie the vi pa finished ...."
****
INFORMATION ABOUT THIS SONG AND LYRICS (translated from Haitian Creole to English)
From https://en.wikipedia.org/wiki/Ha%C3%AFti_Ch%C3%A9rie
(translation corrected by @growninhaiti)
"Haïti Chérie" (French pronunciation: [a.iti ʃeʁi]: Dear Haiti)[1] is a traditional patriotic song of Haiti of a poem written by Othello Bayard that was initially called it Souvenir d'Haïti ("Memory of Haiti")[2] and composed to music in 1920. It is widely considered as a second national anthem,[3] and one of Haiti's most famous méringues.[2]
Haiti, my beloved, no other land is more beautiful than you.
I had to leave you, in order to better understand how valuable you are
I had to leave you, for me to appreciate you
So I could truly feel all that you were for me
There is sunshine, nice rivers and great drinks
Underneath the trees, you'll always find great shade
Where you'll find a gentle breeze to keep you cool
Haiti, is a country dear to me
In the white man's land, you're freezing and it's never good
And all day, you're forced to burn coal
You can't see clearly because the sky is always dark
And for 6 months, all trees are without leaves
In my country, there is sunshine to provide heat
All year long, the trees continue to provide shade
A soft breeze always blowing on our beaches
Haiti, is a country dear to me
Once in the white man's country, all faces are one color
There is no variety such as our different shades of Kreyòl (Milatrès, Marabou, and Grifonn)
That love beautiful dresses, powders and fine scents
Nor black beauties that know the sweetest things to say
In my country, when all of these beautiful people leave church, it's like going to the movies
you have to see this, you would remain wide mouthed and open eyed
What an amazing country Haiti is!
When you're in the white man's country, you don't see mangoes or roosters anywhere
Neither sapoti or beautiful green and purple star apples
Neither pineapples or beautiful cashew apples
that give us great cashews to make delicious brittle with
You'll find oranges that came from Italy
But that are passed ripe and half rotten
In Haiti, everything is finger licking good!
And on that note, we're better then any other country
When you're in my country, wherever you go and along your path it's: "hello sir" "hello miss" "how are the kids?"
without knowing, you're invited in for a drink and to play some games.
Every handshake invites a conversation
Its politics, it's a bad situation
what we need to do is accept it how it is
If God is good, he will grant us salvation
When you're in the white man's country, you're afraid to go out day or night
Everyone is walking so fast that you'd think they're crazy dogs
Where are they going? Why are they running?
They in such a hurry that they never stop to ask how you're doing
In my country, people don't go by time
You have the liberty to take your time
Wherever you go, it's "hello" and friendly handshakes
People are never in a rush, we chat along our path
When you're in Haiti, you always have enough time to whistle
what doesn't get done today, can get done tomorrow if you want
If tomorrow works, cool... If it doesn't... cool.
It doesn't matter, everyone knows that God is good
In Haiti, people are never desperate
we trust in a God that never lies
We'll do whatever we can today, because tomorrow is never certain
What a great country, my God! It's Haiti!
-snip-
Click that Wikipedia link for this song's Haitian Creole lyrics.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post provides information about Stevy Mahy and showcases a video of Stevy Mahy and James Germain singing "Haitian Cherie"["Dear Haiti"}. The English translation for that song's Haitian Creole lyrics is also included in this post.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Othello Bayard for composing the poem that became this song. Thanks also to Stevy Mahy and James Germain for their musical performances. Thanks to all those who are quoted in this post and all those who produced this video Also, thanks to the publisher of this post on YouTube.
****
INFORMATION ABOUT STEVY MAHY
From https://translate.google.com/translate?hl=en&sl=fr&u=https://www.last.fm/fr/music/Stevy%2BMahy/%2Bwiki&prev=search [translated from French to English]
"Stevy Mahy is a Folk Trilingual (English, French and Creole) native of Guadeloupe.
From a father and a mother to musicians and singers, Stevy Mahy goes early to pace recording studios or rehearsals, so naturally she will record songs such as "manman dépi ou pati" or "I want a Little brother "with [her] mother, that of the age of 9 years.
Then it is a succession of travels, meetings, musical collaborations.
And then his taste for the image, the realization will take the step.
After a short stay in London, she decided to turn to the United States ...
Always beautiful encounters ...
But finally her first love catches up with her ... She has to sing ...
An envy that coincides with her return to Guadeloupe for her who is born in Paris and spends part of her childhood in Guadeloupe.
"All my departures take me back to Guadeloupe".
A place where finally its complexity of Creole woman find a jewel case.
She finds herself, re-sources herself and rehearses buried melodies.
It is also at this moment that she meets a talented artist, Victor'O.
A friendship is born which will give birth to a song on the album of "Inspire Me":
The story of the true power of friendship that inspires strength and courage, but also the bond that is established between angel and protégé.
A beautiful encounter that hides another.
When recording "Inspire Me", Stevy meets Joel Jaccoulet (author, composer, producer).
The composition process starts almost intuitively.
A late afternoon, set on the terrace, the words and melodies of "Beautiful" take shape ...
Kreyol folk becomes the best defining term for this encounter and the musical universe of Stevy Mahy. English, Creole, French ...
A Creole woman open to the world and yet well inscribed in her environment.
[Her] album "The Beautiful Side of a Kreyol Folk Trip" is an invitation to a beautiful journey through [her] musical influences flourishing the Soul, Lauryn Hill and the sounds of Creole music.
-snip-
The pronoun "her" is in brackets because the translation feature's default is male pronoun.
****
SHOWCASE VIDEO: HAITI CHERIE - Stevy MAHY feat. James Germain (official HD video)
B Caribbean, Published on May 12, 2012
http://itunes.apple.com/fr/album/hait...
Fruit de sa rencontre avec Haïti ,Stevy MAHY nous livre aujourd'hui son premier single inédit depuis la sortie en 2010 de son album «the Beautiful side of a kreyol folk trip».
Avec la participation du chanteur haïtien James GERMAIN le titre HAITI CHERIE se veut le trait d'union entre nos histoires si proches,si riches,unies dans une même souffrance originelle et sublimées par la créativité et l'intelligence des hommes et femmes qui les ont incarnées...
«nou sé an sel pep dessan an ba kal a machan...vou epi mwen sé mem bagay...sé mem bitin...»
HAITI CHERIE qui à été enregistré en partie à Port au Prince,dans les hauteurs de Pétionville,est un mélange subtil de mélancolie et d'espoir porté par deux voix uniques unissant leur talent pour la première fois...pour nous dire ces mots simple et justes :
«Haiti cherie la vi pa fini....»
-snip-
(Google translate from Haitian Creole to English)
"Stevy MAHY is the first of its kind to be releas:ed in Haiti today, with his debut album "The Beautiful Side of a Kreyol Folk Trip".
With the participation of the Haitian singer James GERMAIN the title HAITI CHERIE wants to be the link between our stories so close, so rich, united in the same original suffering and sublimated by the creativity and intelligence of the men and women who have them incarnated ...
«Nou se an salt pep dessan an ba kal a machan ... you epi mwen se mem bagay ... se mem bitin ...»
HAITI CHERIE which was recorded partly in Port au Prince, in the heights of Pétionville, is a subtle mixture of melancholy and hope carried by two unique voices joining their talent for the first time ... to tell us these simple words And fair:
"Haiti cherie the vi pa finished ...."
****
INFORMATION ABOUT THIS SONG AND LYRICS (translated from Haitian Creole to English)
From https://en.wikipedia.org/wiki/Ha%C3%AFti_Ch%C3%A9rie
(translation corrected by @growninhaiti)
"Haïti Chérie" (French pronunciation: [a.iti ʃeʁi]: Dear Haiti)[1] is a traditional patriotic song of Haiti of a poem written by Othello Bayard that was initially called it Souvenir d'Haïti ("Memory of Haiti")[2] and composed to music in 1920. It is widely considered as a second national anthem,[3] and one of Haiti's most famous méringues.[2]
Haiti, my beloved, no other land is more beautiful than you.
I had to leave you, in order to better understand how valuable you are
I had to leave you, for me to appreciate you
So I could truly feel all that you were for me
There is sunshine, nice rivers and great drinks
Underneath the trees, you'll always find great shade
Where you'll find a gentle breeze to keep you cool
Haiti, is a country dear to me
In the white man's land, you're freezing and it's never good
And all day, you're forced to burn coal
You can't see clearly because the sky is always dark
And for 6 months, all trees are without leaves
In my country, there is sunshine to provide heat
All year long, the trees continue to provide shade
A soft breeze always blowing on our beaches
Haiti, is a country dear to me
Once in the white man's country, all faces are one color
There is no variety such as our different shades of Kreyòl (Milatrès, Marabou, and Grifonn)
That love beautiful dresses, powders and fine scents
Nor black beauties that know the sweetest things to say
In my country, when all of these beautiful people leave church, it's like going to the movies
you have to see this, you would remain wide mouthed and open eyed
What an amazing country Haiti is!
When you're in the white man's country, you don't see mangoes or roosters anywhere
Neither sapoti or beautiful green and purple star apples
Neither pineapples or beautiful cashew apples
that give us great cashews to make delicious brittle with
You'll find oranges that came from Italy
But that are passed ripe and half rotten
In Haiti, everything is finger licking good!
And on that note, we're better then any other country
When you're in my country, wherever you go and along your path it's: "hello sir" "hello miss" "how are the kids?"
without knowing, you're invited in for a drink and to play some games.
Every handshake invites a conversation
Its politics, it's a bad situation
what we need to do is accept it how it is
If God is good, he will grant us salvation
When you're in the white man's country, you're afraid to go out day or night
Everyone is walking so fast that you'd think they're crazy dogs
Where are they going? Why are they running?
They in such a hurry that they never stop to ask how you're doing
In my country, people don't go by time
You have the liberty to take your time
Wherever you go, it's "hello" and friendly handshakes
People are never in a rush, we chat along our path
When you're in Haiti, you always have enough time to whistle
what doesn't get done today, can get done tomorrow if you want
If tomorrow works, cool... If it doesn't... cool.
It doesn't matter, everyone knows that God is good
In Haiti, people are never desperate
we trust in a God that never lies
We'll do whatever we can today, because tomorrow is never certain
What a great country, my God! It's Haiti!
-snip-
Click that Wikipedia link for this song's Haitian Creole lyrics.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Friday, May 23, 2014
Five Videos Of Gwo Ka Music & Dance (Guadeloupe, West Indies)
Edited by Azizi Powell
This post showcases five videos of Gwo Ka music & dance from Guadeloupe, French West Indies. Information about Gwo Ka is also includes in this post.
The content of this post is provided for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all others featured in these videos. Thanks also to the publishers of these videos on YouTube and thanks to those who are quoted in this post.
****
INFORMATION ABOUT GWO KA
From http://en.wikipedia.org/wiki/Gwo_ka
"Gwo ka (Big drum) is both a family of hand drums and the music created with them, which is a major part of Guadeloupean folk music. There are seven rhythms in gwo ka, which are embellished by the drummers. Different sizes of drums establish the foundation and its flourishes, with the largest, the boula, playing the central rhythm and the smaller, markeur (or maké) drums embellishes upon it and interplays with the dancers, audience or singer. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, and is accompanied by uplifting and complex harmonies and melodies. There are also dances that tell folk stories that are accompanied by the gwo ka drums.
Rural Guadeloupans still use gwo ka drums in communal experiences called lewozes; this is the most traditional manifestation of gwo ka in modern Guadeloupe. Gwo ka is also played at Carnival and other celebrations. A modernized and popularized form of gwo ka is well-known on the islands; it is known as gwo ka moderne.
Origin
Gwo ka is the French creole term for Big drum.
The origin of Gwo Ka goes back to the period of enslavement in the 18th century. Musical research show that the instrument can find its roots in the drums and songs of the West African countries (Guinea gulf, Congo...). From the diverse music and dance of their homelands, the slaves elaborated a communication tool, a new form of art, like the creole language: the Gwo Ka. This musical genre is characterised by an African typology: - repetitive form - improvisation - physical movements linked to music - a response between a soloist and choir - a syncopation [which is] weak [at] times. Gwo-ka, is a quadruple entity: dance, music, instrument, song..."
****
FEATURED EXAMPLES
These videos are posted in chronological order based on the date that they were published on YouTube. The videos with the oldest dates posted first.
Example #1: GUADELOUPE - Filles super rapides (live drums - gwo ka)
lagoyave Uploaded on Nov 1, 2008
Raw footage
Genre: folklore - traditional music: Gwo ka, Guadeloupe island
Festival les Belles ka dansé - Bourget (France)
Super fast dancers. They could dance really fast and could also play drums, the KA. 7 rhythms, it is unique worldwide. Let me tell you that the easiest one is not obvious at all.
Level: advanced/expert.
Filles super rapides et synchronisées. Niveau de danse: expert.
Danse et percussions: jouent du tambour.
****
Example #2: Gwo ka - Jean Fouye Pye Fouye - Lewoz a Choukaj Mas Pari [live drums]
lagoyave Uploaded on Jul 22, 2011
...Traditional drums of Guadeloupe (FWI: French West Indies - French Oversea Dpt #971). Bay lavwa, buzzez, faites tourner svp, please tell a Friend!!! Yon bèl mèsi, thanks a million!!!
Title: Jean Fouyé, Pyè Fouyé, gwo ka classic. 3 dancers/danseurs
This song is loved by everyone and is also one of my favorite for both, the lyrics and the composition as a whole. Many covers available, I like this one, it was a fair one. :)
Guest: Orèl, Style Ka
Chant: Fred Epaminondas, Lowi6
Danseurs: Camille de Miyo, Pascal Lamy en rouge et je ne connais pas le dernier. Si vous savez, dites-le moi. Merci...
****
Example #3: Gwo ka - Orel Styleka - "Pa mannye loli-la" - Lewoz a Choukaj Mas Pari
.
Lagoyave, uploaded on Jul 31, 2011
Title/titre: "pa mannyé loli-la"
Genre: Gwo ka music - live drums. Choukaj Mas Pari. Annual event.
3 dancers/danseuses dont Manzel Dodoz. Bay lavwa, faites tourner, commentez, svp. Merci. -
Title/titre: Pa mannyé loli-la is a Gwo ka classic song.
Guest: Orèl, StyleKa,,,
****
Example #4: Gwo ka Lewoz Poirier Petit-Bourg
.
Chaîne de 971chimentrase Uploaded on Sep 11, 2011
****
Example #5: Veillée de Napoléon Magloire dit Napo - Gwoka Guadeloupe - 1
Kalinda Productions, Published on May 6, 2013
Wake of Napoleon "Napo" Magloire, master singer of the Guadeloupean tradition gwoka / May 3rd, 2013, Guadeloupe.
Veillée de Napoléon Magloire dit Napo, vendredi 3 mai 2013, Gosiers, Guadeloupe
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post showcases five videos of Gwo Ka music & dance from Guadeloupe, French West Indies. Information about Gwo Ka is also includes in this post.
The content of this post is provided for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all others featured in these videos. Thanks also to the publishers of these videos on YouTube and thanks to those who are quoted in this post.
****
INFORMATION ABOUT GWO KA
From http://en.wikipedia.org/wiki/Gwo_ka
"Gwo ka (Big drum) is both a family of hand drums and the music created with them, which is a major part of Guadeloupean folk music. There are seven rhythms in gwo ka, which are embellished by the drummers. Different sizes of drums establish the foundation and its flourishes, with the largest, the boula, playing the central rhythm and the smaller, markeur (or maké) drums embellishes upon it and interplays with the dancers, audience or singer. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, and is accompanied by uplifting and complex harmonies and melodies. There are also dances that tell folk stories that are accompanied by the gwo ka drums.
Rural Guadeloupans still use gwo ka drums in communal experiences called lewozes; this is the most traditional manifestation of gwo ka in modern Guadeloupe. Gwo ka is also played at Carnival and other celebrations. A modernized and popularized form of gwo ka is well-known on the islands; it is known as gwo ka moderne.
Origin
Gwo ka is the French creole term for Big drum.
The origin of Gwo Ka goes back to the period of enslavement in the 18th century. Musical research show that the instrument can find its roots in the drums and songs of the West African countries (Guinea gulf, Congo...). From the diverse music and dance of their homelands, the slaves elaborated a communication tool, a new form of art, like the creole language: the Gwo Ka. This musical genre is characterised by an African typology: - repetitive form - improvisation - physical movements linked to music - a response between a soloist and choir - a syncopation [which is] weak [at] times. Gwo-ka, is a quadruple entity: dance, music, instrument, song..."
****
FEATURED EXAMPLES
These videos are posted in chronological order based on the date that they were published on YouTube. The videos with the oldest dates posted first.
Example #1: GUADELOUPE - Filles super rapides (live drums - gwo ka)
lagoyave Uploaded on Nov 1, 2008
Raw footage
Genre: folklore - traditional music: Gwo ka, Guadeloupe island
Festival les Belles ka dansé - Bourget (France)
Super fast dancers. They could dance really fast and could also play drums, the KA. 7 rhythms, it is unique worldwide. Let me tell you that the easiest one is not obvious at all.
Level: advanced/expert.
Filles super rapides et synchronisées. Niveau de danse: expert.
Danse et percussions: jouent du tambour.
****
Example #2: Gwo ka - Jean Fouye Pye Fouye - Lewoz a Choukaj Mas Pari [live drums]
lagoyave Uploaded on Jul 22, 2011
...Traditional drums of Guadeloupe (FWI: French West Indies - French Oversea Dpt #971). Bay lavwa, buzzez, faites tourner svp, please tell a Friend!!! Yon bèl mèsi, thanks a million!!!
Title: Jean Fouyé, Pyè Fouyé, gwo ka classic. 3 dancers/danseurs
This song is loved by everyone and is also one of my favorite for both, the lyrics and the composition as a whole. Many covers available, I like this one, it was a fair one. :)
Guest: Orèl, Style Ka
Chant: Fred Epaminondas, Lowi6
Danseurs: Camille de Miyo, Pascal Lamy en rouge et je ne connais pas le dernier. Si vous savez, dites-le moi. Merci...
****
Example #3: Gwo ka - Orel Styleka - "Pa mannye loli-la" - Lewoz a Choukaj Mas Pari
.
Lagoyave, uploaded on Jul 31, 2011
Title/titre: "pa mannyé loli-la"
Genre: Gwo ka music - live drums. Choukaj Mas Pari. Annual event.
3 dancers/danseuses dont Manzel Dodoz. Bay lavwa, faites tourner, commentez, svp. Merci. -
Title/titre: Pa mannyé loli-la is a Gwo ka classic song.
Guest: Orèl, StyleKa,,,
****
Example #4: Gwo ka Lewoz Poirier Petit-Bourg
.
Chaîne de 971chimentrase Uploaded on Sep 11, 2011
****
Example #5: Veillée de Napoléon Magloire dit Napo - Gwoka Guadeloupe - 1
Kalinda Productions, Published on May 6, 2013
Wake of Napoleon "Napo" Magloire, master singer of the Guadeloupean tradition gwoka / May 3rd, 2013, Guadeloupe.
Veillée de Napoléon Magloire dit Napo, vendredi 3 mai 2013, Gosiers, Guadeloupe
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Thursday, May 22, 2014
Three Videos Of Reynoir Négoce Casimir, Renown Accordion Player From Guadeloupe, West Indies
Edited by Azizi Powell
This post showcases three video examples of Reynoir Négoce Casimir, Accordion player from Guadeloupe, West Indies. Information about quadrille music and Négoce Casimir are also includes in this post.
The content of this post is provided for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Négoce Casimir and all others featured in these videos. Thanks also to the publishers of these videos on YouTube.
****
INFORMATION ABOUT QUADRILLE MUSIC
From http://www.africultures.com/php/index.php?nav=disque&no=778
"En Guadeloupe, le choc des cultures occasionné par la rencontre brutale du système colonial a conduit à un brassage des us et coutumes: les maîtres se divertissaient au rythme des danses qu'ils avaient apportées d'Europe et les esclaves venus d'Afrique les ont façonnées à leur manière. La polka, le quadrille et la contredanse ("country dance") ont épousé les percussions et les rythmes d'Afrique pour donner naissance aux quadrilles créoles. Pour le "Kadri Gwadloup", un commandeur donne, dans un mélange de vieux français et de créole, des injonctions aux danseurs sur les postures à adopter, tandis que les musiciens interprètent sans discontinuer les différentes figures: "l'entrée", "le pantalon", "l'été", "la poule", "la pastourelle" et "la biguine". Reynoir Casimir dit Négoce, accordéoniste de grand talent, figure incontournable des "balakadri" est accompagné par son ensemble "Signature" (percussions et guitare). Art de déclamer, parlé-chanté proche du rap, le quadrille de Guadeloupe témoigne ici de sa force vitale. L'intégralité des savoureux textes des commandements est reproduite dans le livret.
Collection Musique du Monde, dist. France Universal cd 3016972"
-snip-
Here's my attempt to put Translate's English translation of this French text into Standard American English:
"In Guadeloupe the culture shock caused by the sudden meeting of the colonial system led to a mixing of traditions and customs the polka, quadrille and contra ( "country dance" ) rhythmic dances of Europeans combined with the percussive rhythms of enslaved Africans and gave birth to the Creole quadrilles Creole.
For "Kadri Gwadloup" the caller (soloist),gives commands in a mixture of old French and Creole for the dancers to follow while musicians play continuously different figures such as " input ", " the pants "," summer "," hen "," the shepherdess "and" beguine ". Reynoir Négoce Casimir, a talented accordionist and a leading figure of " balakadri " is accompanied by a whole "Signature" (group od percussionist and guitarist) . The quadrille art of recitation in which words are spoken and sung is close to the style of rap. is very popular in Guadeloupe. The and is very strong very /sungord is reciting , spoken - sung close to rap, quadrille Guadeloupe evidenced by its vital force. The full texts of wonderful examples are contained in this booklet."
****
FEATURED EXAMPLES
These videos are posted in chronological order based on the date that they were published date on YouTube. The videos with the oldest dates posted first.
Example #1: NEGOCE: KADRI GWADLOUP
.
YENKINOU Uploaded on Dec 27, 2009
Vendredi 25 décembre 2009 jour de Noël. Dans une petite ruelle du centre ville de Morne-à-L'eau, dans son bar,NÉGOCE le chantre du Kadri Gwadloup et quelques amis musiciens interprètent un titre ...
Sé tan nou osi !
****
Example #2: Négoce et Signature - "Soleil" Eté final (live)
Dj Paragraf Uploaded on May 8, 2011
Négoce et le groupe "Signature" lors du 4ème numéro de "Dé MO KAT NOT" (DMKN) qui se déroulait à L'ARTCHIPEL Scène nationale de la Guadeloupe.
Diffusion: Guadeloupe 1ère (30/04/11)
****
Example #3: Palé Pou Sonjé - Concert de Négoce & Signature, pastourelle (Fort Fleur d'Epée 27 septembre 2013)
lameca971, Published on Sep 29, 2013
Extrait du concert du groupe de quadrille Signature de Reynoir Casimir dit Négoce.
Ici la 4ème figure: pastourelle.
Vendredi 27 septembre 2013 19h, Fort Fleur d'Epée.
Soirée d'ouverture de la manifestation "Palé Pou Sonjé" (édition 2013) organisée par la Médiathèque Caraïbe du Conseil Général de la Guadeloupe.
Compte youtube de la Médiathèque Caraïbe du Conseil Général de la Guadeloupe, établissement bibliothécaire entièrement dédié à la Caraïbe insulaire et continentale (www.lameca.org).
Images: Médiathèque Caraïbe
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post showcases three video examples of Reynoir Négoce Casimir, Accordion player from Guadeloupe, West Indies. Information about quadrille music and Négoce Casimir are also includes in this post.
The content of this post is provided for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Négoce Casimir and all others featured in these videos. Thanks also to the publishers of these videos on YouTube.
****
INFORMATION ABOUT QUADRILLE MUSIC
From http://www.africultures.com/php/index.php?nav=disque&no=778
"En Guadeloupe, le choc des cultures occasionné par la rencontre brutale du système colonial a conduit à un brassage des us et coutumes: les maîtres se divertissaient au rythme des danses qu'ils avaient apportées d'Europe et les esclaves venus d'Afrique les ont façonnées à leur manière. La polka, le quadrille et la contredanse ("country dance") ont épousé les percussions et les rythmes d'Afrique pour donner naissance aux quadrilles créoles. Pour le "Kadri Gwadloup", un commandeur donne, dans un mélange de vieux français et de créole, des injonctions aux danseurs sur les postures à adopter, tandis que les musiciens interprètent sans discontinuer les différentes figures: "l'entrée", "le pantalon", "l'été", "la poule", "la pastourelle" et "la biguine". Reynoir Casimir dit Négoce, accordéoniste de grand talent, figure incontournable des "balakadri" est accompagné par son ensemble "Signature" (percussions et guitare). Art de déclamer, parlé-chanté proche du rap, le quadrille de Guadeloupe témoigne ici de sa force vitale. L'intégralité des savoureux textes des commandements est reproduite dans le livret.
Collection Musique du Monde, dist. France Universal cd 3016972"
-snip-
Here's my attempt to put Translate's English translation of this French text into Standard American English:
"In Guadeloupe the culture shock caused by the sudden meeting of the colonial system led to a mixing of traditions and customs the polka, quadrille and contra ( "country dance" ) rhythmic dances of Europeans combined with the percussive rhythms of enslaved Africans and gave birth to the Creole quadrilles Creole.
For "Kadri Gwadloup" the caller (soloist),gives commands in a mixture of old French and Creole for the dancers to follow while musicians play continuously different figures such as " input ", " the pants "," summer "," hen "," the shepherdess "and" beguine ". Reynoir Négoce Casimir, a talented accordionist and a leading figure of " balakadri " is accompanied by a whole "Signature" (group od percussionist and guitarist) . The quadrille art of recitation in which words are spoken and sung is close to the style of rap. is very popular in Guadeloupe. The and is very strong very /sungord is reciting , spoken - sung close to rap, quadrille Guadeloupe evidenced by its vital force. The full texts of wonderful examples are contained in this booklet."
****
FEATURED EXAMPLES
These videos are posted in chronological order based on the date that they were published date on YouTube. The videos with the oldest dates posted first.
Example #1: NEGOCE: KADRI GWADLOUP
.
YENKINOU Uploaded on Dec 27, 2009
Vendredi 25 décembre 2009 jour de Noël. Dans une petite ruelle du centre ville de Morne-à-L'eau, dans son bar,NÉGOCE le chantre du Kadri Gwadloup et quelques amis musiciens interprètent un titre ...
Sé tan nou osi !
****
Example #2: Négoce et Signature - "Soleil" Eté final (live)
Dj Paragraf Uploaded on May 8, 2011
Négoce et le groupe "Signature" lors du 4ème numéro de "Dé MO KAT NOT" (DMKN) qui se déroulait à L'ARTCHIPEL Scène nationale de la Guadeloupe.
Diffusion: Guadeloupe 1ère (30/04/11)
****
Example #3: Palé Pou Sonjé - Concert de Négoce & Signature, pastourelle (Fort Fleur d'Epée 27 septembre 2013)
lameca971, Published on Sep 29, 2013
Extrait du concert du groupe de quadrille Signature de Reynoir Casimir dit Négoce.
Ici la 4ème figure: pastourelle.
Vendredi 27 septembre 2013 19h, Fort Fleur d'Epée.
Soirée d'ouverture de la manifestation "Palé Pou Sonjé" (édition 2013) organisée par la Médiathèque Caraïbe du Conseil Général de la Guadeloupe.
Compte youtube de la Médiathèque Caraïbe du Conseil Général de la Guadeloupe, établissement bibliothécaire entièrement dédié à la Caraïbe insulaire et continentale (www.lameca.org).
Images: Médiathèque Caraïbe
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Subscribe to:
Posts (Atom)