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The word Kompa is a derivative of the Spanish word “Compas” Meaning Rhythm or tone. It represents the popular style of tropical music Sing in Haiti. History reports that it was invented by one of Haiti’s popular Guitarist and saxophonist Nemours Jean-Baptiste in mid 1950’s. See the article on Kompa History He is usually referred to as the father of Kompa.
Haitian Music has long been a subject that many writers have treated with praise. The information is very rich in libraries but not on the Internet. I do not intend to write about the History of Kompa. Rather, I am interested in detailing or describing what I feel when I dance and listen the Haitian songs. This short article will try to bring out the essence and the beauty that exist in this peculiar but joyful and graceful genre of music.
Hopefully it will give the Haitian reader a sense of appreciation and the foreigner a sense of curiosity.
Before I go on let me quote a short note that I have enjoyed reading from the editorial section of compas central at www.compas.net .
“Every culture and every country has it's own beauty and originality, Haiti is a country where voodoo drums echo all over one of the most exotic country side on earth. In Haiti, just about everybody is involved in the creative arts and its music. The best of its painters sell their work all over the world and musicians carry the torch of Kompa to the farthest destinations on earth…. The style has been copied, but never equaled; within every note you can sense the beauty of this unique display of musical expression...electronic organs, fancy guitars and drum machines unsuccessfully trivializes the cultural polygamy witnessed in Kompa. The new sounds unsuspectedly reinforces its appeal and integrates the new generation of Kompa stars to the strong structural outline left behind by Nemours Jean Baptiste”…
From the latter and Wébert Sicot to Tabou Combo Skah Shah and system Band, Zin, Coupé Cloué, Zenglen, D’zine and Top-vice you name it, came a whole generation of good music that kept the Haitians beautiful and proud in their cultural life. We may be the poorest nation in the hemisphere but we have the great pride of having our own music, our own identity, and guess what? We love every beat of it.
Compas (I like to spell it Kompa) has a great rhythm to it and every Haitian that I know always enjoys a good beat of the drum. Sometimes when I go out to dance at the local clubs and I see all those good-looking Haitian Brothers and sisters, Black and Mulattoes dressed to kill, filling up the air with the sweet scent of those French-imported perfumes that they always wear when they go out on special evenings, talking loud and greeting long-time friends, enjoying their music to the Max. It makes me dream. It makes me feel young again by going back 15 years and remembering the sounds of “Caroline” from Skah Shah and “David” from Ti Manno. In simple terms; it feels good!
Kompa is danced mostly at the level of the hip by moving softly and sensuously the body to the rhythm of the beat of the drum and the combination of other instruments that mix to form that magical tone. One of the steps that is being enjoyed the most when dancing Kompa is what our folks call yayade. It’s a step that always attracts attention. It has been famous among Haitians because of how one feels when executing that controversial but rich step. Just imagine the body of your partner tightly close against yours. Just imagine the magic that is going on. It’s no wonder why our folks will not give up their music for any other.
For you non-Haitian Readers allow me to add that Haitian music doesn’t stop there. We have other variety such as Racine and new generation songs and even Zouk (a new breed of Kompa). If you have never heard or danced Haitian music I invite you to do so now. You will find on the Internet some good site that will sell you a compact disc with very good material and at a very good price.
We cannot deny that due to the language barrier we cannot export our music to more countries other than the Caribbean. Regardless, I think Haiti is being very well represented abroad. We can name a few of the ones who succeeded for example: Zéklè, Boukman, Caribbean Sextet, Coupé Cloué, Tabou Combo and now String they all did a great job at adding a special and personal touch to Kompa.
It is hard to admit but actually our music is one of the few things in Haitian culture that stands tall in our struggle to have a better country. The music makers in Haiti know it and the fans know it that we have something special to brag about and to make us feel good of being Haitian.
To conclude I want to mention that I read an article from Emmanuel Vedrine on the internet --Mizisyen, Atis nou yo-- on how he wishes to see Haitian musicians reunited in a formal association that would do nothing less than protecting their rights and promoting the music of our land by forming standards and having a simpler way to make music. I think Emmanuel is right and especially after I have been promoting organization among Haitians. I couldn’t agree more and I support firmly the idea and thus complementing my previous article.
Let’s keep our musicians happy by buying their products. By attending and enjoying those short moments in concerts at local parlors.
Please send me your comments about what you like or dislike about Haitian music. Your ideas on how we can move forward in the world music industry.
Bélizaire Vital
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