#rasin mizik

[lefloridien]

The Cultural Significance of Haitian Music: A Deep Dive into Musique Haitienne

Rich in history and culture, Haiti has created a vivid musical panorama that, throughout generations, has grown as an integral part of its national identity. Haitian music, in simple terms, Musique Haitienne is way beyond any art form; it's the echo of the country's soul, a medium of storytelling, and an effective means of cultural expression. From the pulsating rhythms of Kompa to the spiritual cadence of the music inspired by Vodou, Musique Haitienne weaves a deep thread into the country's social, political, and spiritual life.

The Roots of Musique Haitienne

But where exactly does the beginning of Musique Haitienne start? The history of Musique Haitienne is deeply woven within the complex history of the country. Haitian music is an eclectic mix of African, French, Spanish, and Taino influences that each contributes their due share to create different sounds and genres. It was during the colonial period when rich musical traditions from African slaves were gradually combined with European forms from the French colonizers that allowed such a scenario to take place. The result of this is a handful of musical varieties including the folk genre rara and religious chants for Vodou ceremonies.

Of all musical genres in Haiti, Vodou music plays an integral role in the culture of this country. This is not just simple music; it is spiritual because it connects the Haitian nation with their ancestors. Rhythms and melodies of Vodou music constitute the core of rituals passed from generation to generation; therefore, Vodou happens to be one of the longest-standing genres of Musique Haitienne.

The Evolution of Haitian Music

Over time, Musique Haitienne developed to incorporate newer influences and changed with the times of the country's social and political atmosphere. By the mid-20th century, one of the most popular genres of Haitian music was Kompa, or as some artists spell it, Compas. This genre was developed by Nemours Jean-Baptiste during the 1950s and is typified by a fast tempo, danceable rhythm, and utilization of such instruments as the accordion and guitar. The rhythm and beat soon became the soundtrack to Haitian life, speaking to young and old alike.

There is another genre as well, which is Méringue. It also is a dance music genre, similar to Kompa, and it takes root in the 19th century. Méringue, while being a bit slower than Kompa, is equally important in the canon of Musique Haitienne: it is performed from different levels of national celebration to being an object of pride according to many.

The genre that began to prevail during the 1970s and 1980s was Mizik Rasin, or Roots Music. It is a musical style that incorporates traditional Vodou rhythms into rock, jazz, and funk. It became a voice for social and political commentary. Artists utilizing the genre of Mizik Rasin include Boukman Eksperyans, addressing issues ranging from poverty to political corruption to 'survivance' by the Haitian people.                                                                                           

Haitian Music as a Cultural Identity

Jazz is much more than entertainment for Haitians; it is among the strongest ways by which Haitians imbue their feelings into society. This music is enlightened with the amalgamation of pains, aspirations, and dreams of people belonging to Haiti. Music has also been a means of resistance during periods of political crisis, where musicians express themselves through art that criticizes oppressive regimes and sparks change. The lyrics often speak to the reality of life in Haiti: love, poverty, freedom, and spirituality.

Haitian music is also in nature and binds people together. From Vodou and Kanaval/Carnival to just passing the time, music plays a functional role in socializing in Haiti. This finds cause for celebration in their culture by preserving a tradition and celebrating a communal spirit among Haitians.

The Global Influence of Musique Haitienne

Haitian music has likewise left its impress on the world's stage. Artists like Wyclef Jean have taken aspects of Musique Haitienne into the mainstream, blending them with hip-hop and other genres for a sound unique and virtually attractive to a global audience. Festivals of Haitian music pop up worldwide, from Miami to Paris, further enforcing the enduring appeal of this dynamic musical culture.

Also, the diaspora kept Haitian music alive and healthy. In cities such as Miami, New York, and Montreal, Haitian communities have kept their cultural heritage vital through music and the sounds of home as the most critical part of their being.

Conclusion: The Enduring Legacy of Musique Haitienne

Musique Haitienne is something more than a mere collection of sounds and tempo; it is the pulse of Haiti nation. Popular Ethiopian music of today has evolved from the traditional style that is believed to have originated from the third which was the Egypt of that time with characteristic features of modern world style Ethiopia music. It is a powerful tool that can be used to both inform and entertain, to comment on society, and to foster pride, at the local level in particular.

Le Floridien, as a newspaper serving the Haitian diaspora, understands just how integral this industry is to preserving and growing Musique Haitienne. With coverage of Haitian culture and arts, Le Floridien remains in a position to play a critical role in ensuring the rich musical heritage of Haiti is well celebrated and passed down through generations. In an ever-increasingly homogenized world, Musique Haitienne speaks volumes to attest to the formation of the heart of resistance and creativity throughout time in the people of Haiti.

[thetoolsboxsblog]

Significance of "KrissPossible Boomba" in Haitian music scene and its uniqueness compared to other genres?

It is common for the Haitian music scene to be characterized by a rich and diverse array of musical genres and styles, drawing influences from African, European, and indigenous traditions. Haitian music is celebrated for its fusion of traditional rhythms, such as kompa, mizik rasin, and rara, with contemporary sounds like hip-hop, dancehall, and trap. Each genre has its distinct cultural significance and appeals to different audiences within and beyond Haiti. If "KrissPossible Boomba" is a new or emerging musical style, its significance may lie in its ability to contribute to the evolving and dynamic landscape of Haitian music, infusing the scene with fresh sounds and perspectives.

For More-  KrissPossible boomba

To understand the true significance and uniqueness of "KrissPossible Boomba" in the Haitian music scene, further research and exploration into more recent sources would be necessary. Evaluating its cultural impact, popularity among Haitian audiences, and its potential influence on the broader music industry would provide a more comprehensive understanding of its role in shaping the Haitian music scene.

[rockofeye]

Hi! Do you listen to Mizik Rasin??? If so, what do you think of the following groups: RAM, Koudjay, Boukman Eksperyans and Boukan Ginen? Which of these groups do you like the most?

Hello!

I do listen to a lot of mizik rasin...it has largely been how I have learned chante lwa!

I haven't listened to Koudjay or Boukan Ginen as much as I have listened to RAM or Boukman Eksperyans, so I am less familiar with them. RAM and BE both do traditional chante lwa with a slower melodic approach than straight temple-style chante lwa. I love how upbeat all of those groups are.

My current faves are Racine Figuier, Racine Kanga, Racine Mapou, Azor, Rasin Ayiti, Manbo Weena, Chouk Bwa Libète, and Sò Anne. James Germain also does really beautiful chante lwa. Sò Anne's chante lwa in particular has been really great for helping me learn...lots of houngenikon sing really fast, even in recording, but Sò Anne does not. Great stuff.

For folks reading who are interested in mizik rasin (literally root music), Spotify has a really great collection of it as well as all kinds of other Haitian music too!

[burlveneer-music]

Chouk Bwa & The Ångstromers - Haitian band + dub production

The first release of Chouk Bwa & the Ångstromers combines a nouveau dub sensitivity with a Haitian rhythm science. It is a new collaboration between the traditional Haitian Mizik Rasin (roots music) band, Chouk Bwa Libète, and the abstract sound engineering of the Ångstromers. The result is a very distinctive blend: a kind of future-leaning Vodou dub. The two tracks were selected from the first meeting with the Ångstromers at Café Central, Brussels, recorded live in September 2016. Modular synths and other vintage electronic instruments bring another dimension to Chouk Bwa’s music, although obviously it is always the band’s groove and fluent tempo that leads the energy of the ensemble: no laptops, no drum machines. There are certain freedoms that cannot be coerced. Even more, the electronic instruments are wired directly to the drums that feed them with impacts and caresses. All the Vodou families are there with their many rhythms and songs. Radical Vodou roots for urban audiences.

Jean Claude « Sambaton » Dorvil - lead singer Jean Rigaud Aimable - drums & vocals Riscot Cedieu - drums & vocals Gomez « Djopipi » Henris - chime & vocals Edèle Joseph - vocals Sadrack « Mazaka » Merzier - drums & vocals Nicolas « Ripit » Esterle - modular synthetiser Frederic Alstadt - modular synthetiser Recorded live on 28th of September 2016 at Café Central, Brussels Produced and mixed by the Ångstromers

[dustedmagazine]

Chouk Bwa & The Ångströmers — Vodou Alé (Bongo Joe)

Vodou Alé by Chouk Bwa & The Ångstromers

“Vodou Alé,” the lead-off track from this new collaboration between a traditional Haitian mizik rasin (roots) band and two Belgian electronicists, puts a space-age roar under the raw force of massed drums and vocals. The band, Chouk Bwa, consists of three drummers and three singers. The drum line plays big conga-like instruments with a stick in one hand, the other open to slap the head. They play, more or less in unison, building a big stark, beat with lots of resounding white space. The singing sweetens this stripped-down foundation. Bandleader Jean Claude “Sambaton” Dorvil has an echoing, carrying, longing voice which crests over the rhythms in big swooning swoops, accentuated by harmonies at times from the two women who support him, Maloune Prévaly and Edèle “Sasufi” Joseph. It is an astonishingly power sound that reaches right into the gut, but also lifts free of physical boundaries.

You might wonder what two Belgian producers can add to all this, but in fact, the contributions of Nicolas Esterle and Frédéric Alstadt — the Ångströmers — make this music deeper, stranger and more engaging. The two play modular synths and other vintage electronic instruments whose sound are directly fed into the drums, so that these futuristic sounds seem like part of the mix rather than an appendage. Thus there is an ominous bass-y synthetic growl under the furious drum battering, the fast-paced calling and responding and choral euphorias of “Odjai,” which only adds drama and grounding. “Sali Lento” is about its rattling, bursting bouts of percussion, its cooling balm of vocal sound, but the electronic squeaks and yelps and surges enhance these elements rather than subtracting from them.

The singing is quite transporting, rough and bare in spots, lush with choral harmonies in others. It lifts these cuts into a spiritual realm, as on the soaring “Fidelite” or careening, headlong, “Move Tan.” Yet even all-percussion cuts like “Rårå” have their intricate, incisive charms, and “Kay Marasa Dub” with its stinging rhythms and echoing dub-electronics slinks and swaggers quite well without singers. You notice the lack of melodic instruments like guitars, bass, brass, reeds and keyboards mostly in white space between percussion and vocals. There is nothing to clog up the intersection of these two primal elements.

We’ve all heard traditional music fouled up with dance beats, disco synths and suffocating Western influences. This is not that. The Ångströmers land lightly on a very powerful art form and make it slightly better without taking over.

Jennifer Kelly

[haitianculture509]

Kanpech Dousman

[mrbopst]

Today in Bopst Design: 2019

http://www.boukmaneksperyans.com/

http://multifloraproductions.com/

http://www.tropicaliadc.com/

[lembaha]

"Fòk ou bat tanbou-a pou tande son li." You must beat the drum to hear its sound. Shouts to my Haitian fam in N Mexico #haiti #haitianheritagemonth #haitianflagday #culturegram #instagood #instadaily #instagrammers #drums #folkmusic #mizik #rasin #sound #therapy #lembahealingarts #lembamovementarts

[affairesasuivre]

Chouk Bwa & The Ångstromers - Move Tan (Official Video)

Après son passage aux Trans Musicales cet hiver, le groupe de vaudou haïtien Chouk Bwa accompagné du duo de producteurs belges s'apprête à sortir l'album "Vodou Alé" et dévoile le titre "Move Tan".

Faire coexister un groupe haïtien de musique traditionnelle, Mizik Rasin, et un duo de l'underground electro bruxellois pour arriver à cette transe groove extatique était un pari audacieux. Un projet qui a vu le jour en 2016 lorsque la formation Chouk Bwa a rencontré pour la première fois les producteurs Nicolas Esterle et Frédéric Alstadt réunis sous le nom de The Ångströmers.  Après une série de concerts explosifs, Chouk Bwa & The Ångströmers sort son premier album Vodou Alé le 22 mai prochain sur le label Bongo Joe.

Né Chouk Bwa Libète, qui signifie "souche de l’arbre de la liberté" en créole haïtien, puis devenu Chouk Bwa, l'orchestre traditionnel haïtien a été fondé aux Gonaïves en 2012 par le chanteur Jean Claude "Sambaton" Dorvil. Il perpétue depuis la mystique vaudou avec la polyrythmie de ses tambours, les chants incantatoires et les danses en  hommage au panthéon des Lwa. Une célébration de la spiritualité vaudou, venue de la lointaine Afrique et dont le groupe s'est fait le gardien avec ses compositions originales et ses morceaux traditionnels réarrangés, réunis une première fois sur l'album Se Nou Ki La ! sorti en 2015.

Au fil des rencontres avec Chouk Bwa, le duo de producteurs The Ångströmers a enrichi son univers sonore constitué de basses et d’échos influencé par le dub et le drone. Nicolas Esterle et Frédéric Alstadt ont intégré à la perfection les polyrythmes complexes du groupe haïtien qui s'inspirent des rites quotidiens et ruraux du culte vaudou pour invoquer les esprits. Le duo a ainsi travaillé pendant deux ans sur les sessions acoustiques du groupe enregistrées dans des conditions live. Au cœur de cette transe inédite, jaillissent les brûlots militants du chanteur qui évoque sur le titre Move Tan la corruption qui ruine son pays déjà touché par les séismes.

[haitilegends]

HAÏTI LEGENDS FLASH-BACK.

Èske nou raple nou de selèb gwoup sa-a?

Foula.

Youn nan premye gwoup vodou jazz nan peyi dayiti.

Kisa non Foula-a vle di?

An nou koute mizisyen gwoup la nan yon rankont ak jounalis Konpè Filo sou Radio Haïti jou ki te 28 desanm 1986.

(Klike sou lyen ki anba-a pou nou ka koute-l)

https://idn.duke.edu/ark:/87924/r4bc3vt63

Manm Foula, yon gwoup mizik rasin/Vodou djaz trè koni nan ane 1980-1990 yo, pale sou mizik ak enspirasyon. Emisyon an gen plizyè pèfòmans ladan l, tou. Chico Boyer (gita bas ak vwa), Tido Lavaud (gita ak vwa prensipal), Jean-Raymond Giglio ak Bonga Jean-Baptiste (tanbou), Thurgot Theodat (saksofòn ak pèkisyon) avèk lòt manm.

Les membres de Foula, un groupe de musique racine/Vodou jazz très connu dans les années 1980 et 1990 parlent de leur musique et de leur inspiration. Le reportage comprend aussi plusieurs performances. Chico Boyer (basse et voix), Tido Lavaud (guitare et voix principale), Jean-Raymond Giglio et Bonga Jean-Baptiste (batterie/tambour), et Thurgot Theodat (saxophone et percussion), entre autres.

The members of Foula, a well-known mizik rasin/Vodou jazz group of the 1980s and 1990s, discuss their work and inspiration. Also features several performances. Chico Boyer (bass/voice), Tido Lavaud (guitar/lead voice), Jean-Raymond Giglio and Bonga Jean-Baptiste (drums), Thurgot Theodat (saxophone and percussion), among other members.

#Foula

#ThurotThéodat

#TidoLavaud

#JeanRaymond

#Bonga

#HugoValcin

[blackjesus1804]

Mario Morose janbe lanmo sa frapem anpil pa gen lontan nap pale de mizik rasin lan neg kite renmen kilti lakay vodou a pran kou tou sete younn nan gwo defanse vodou a Mario te renmen lavi neg kite toujou kwe nan Ayiti bon travese zanmim Mario Morose this death hit me hard not long ago we were talking about the root music guy who love the culture of voodoo was also hit by one of the great defenders of voodoo Mario loved life guy who always believe in haiti have a good trip my friend Mario Morose cette mort m'a durement touché il n'y a pas si longtemps on parlait du mec de la musique root qui aime la culture du vaudou a aussi été touché par l'un des grands défenseurs du vaudou Mario aimait la vie mec qui croit toujours en haïti bon voyage mon ami 🕊🙏🏿 #legendMarioMoroseChandèl🕊🙏🏿😢💔😪 https://www.instagram.com/p/CaBNWR3JH1X/?utm_medium=tumblr

[kiskeacity]

Last Friday at #lof1804 we were joined by Paul to discuss being a Beaubrun, his current tour with Lauryn Hill, being Languichatte's grandson, the future of mizik rasin and his coming album with Rock & Roll Hall of famer Jackson Browne! 🇭🇹 Listen to the podcast at kiskeacity.com! #Repost @paulbeaubrun Don't get too high or too low..just play your game. 🎸🎼 #haiti #music #haitianmusic #lof1804 #kiskeacity #boukmaneksperyans #vodourock #vodoumusic #bluesroots #haiti #music #zingexperience

[rockofeye]

Mahi is right up there with Kongo as one of my favorite rhythms....it just makes you want to move your feet.

[africandiasporaphd]

#Repost @blackspaceblog with @repostapp ・・・ flash of the spirit. "Latin IS America A traditional Haitian Mizik Rasin—roots music—band brings rhythmic vocals and percussion to life with spiritual dance and chants. The source of the ensemble's music is the essential elements of Haitian Vodou: rhythm and dance. These are the roots, torn from Africa, and secretly replanted in a new land. The songs are a blend of traditional songs and original compositions by Jean Claude Sambaton Dorvil. - See more at: http://ift.tt/2ojsJR6 #blackspace http://ift.tt/2mDK9LP Follow #ADPhD on IG: @afrxdiasporaphd

[meccaakagrimo]

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🇭🇹🏴 @ayitibiyografi . North Beach Band Shell is at an extraordinary location . But, beyond the grey sand you'll find in the heart of Miami Beach “Fete Gede” packed with fans ready for the showdown by the amazing legendary RAM_HAITI on Sat. October 26th come experience for yourself. Tickets available @ www.ramgede.com. Powered by #HMIevents #mizik #rasin #gede #haiti #RhythmFoundation #InternationalCreoleMonth #EnjoyCreole #HaitianEvent #HaitianConcert #Haitian #HaitianPride #hmievents #konnextionbbp #BonBagayLakay #ram #musicfestival #music #northbeachbandshell (at North Beach Bandshell) https://www.instagram.com/p/B373lSCBKlY/?igshid=1kj3ks8qjxjxo