{"id":13,"date":"2025-02-26T07:41:38","date_gmt":"2025-02-26T12:41:38","guid":{"rendered":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/?p=13"},"modified":"2025-02-26T18:41:34","modified_gmt":"2025-02-26T23:41:34","slug":"__trashed","status":"publish","type":"post","link":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/2025\/02\/26\/__trashed\/","title":{"rendered":"HAIT\u00cd"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"760\" height=\"541\" src=\"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-content\/uploads\/2025\/02\/imagen.png\" alt=\"\" class=\"wp-image-85\" srcset=\"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-content\/uploads\/2025\/02\/imagen.png 760w, https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-content\/uploads\/2025\/02\/imagen-300x214.png 300w\" sizes=\"auto, (max-width: 760px) 100vw, 760px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/digitalcollections.nypl.org\/items\/845fcdcd-3061-9b33-e040-e00a18065280\">https:\/\/digitalcollections.nypl.org\/items\/845fcdcd-3061-9b33-e040-e00a18065280<\/a><\/figcaption><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">HAITI<\/h3>\n\n\n\n<p>El tercio oeste de la isla de Hispaniola, que comparte con RD<\/p>\n\n\n\n<p>Creole- <em>Kw\u00e9yol<\/em> (mezcla entre franc\u00e9s, ingl\u00e9s y espa\u00f1ol)<\/p>\n\n\n\n<p>hoy en dia creole y frances son reconocidos f como seugnda lengua<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>HISTORICAL OVERVIEW<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-knight-lab wp-block-embed-knight-lab\"><div class=\"wp-block-embed__wrapper\">\n<iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" src='https:\/\/uploads.knightlab.com\/storymapjs\/b1c2343edf8520f763d6c0ccd9811ecc\/haiti\/draft.html#?secret=sbwPahZpHn' data-secret='sbwPahZpHn' width='500' height='700' frameborder='0'><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>mid s.XVII los franceses comenzaron a desplazar a los espa\u00f1oles<\/p>\n\n\n\n<p>1697\u2192 fue cedido a francia por un tratado, lo llamaron St. Domungue<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>(mapa con flechas de migracion desde: africa, francia espa\u00f1a)<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>\u201cmarrons\u201d: escaped slaves\u2192 quienes huyeron a al interior de la monta\u00f1osa y boscosa isla<\/p>\n\n\n\n<p>terreno ideal para esconderse y formar comunidades, que se convirtieron en bases de la revolucion<\/p>\n\n\n\n<p>segunda revolucion efectiva en el hemisferio (despu\u00e9s de usa)<\/p>\n\n\n\n<p>primer Black freedom movement in the world<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"320\" height=\"461\" src=\"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-content\/uploads\/2025\/02\/imagen-3.png\" alt=\"\" class=\"wp-image-89\" srcset=\"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-content\/uploads\/2025\/02\/imagen-3.png 320w, https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-content\/uploads\/2025\/02\/imagen-3-208x300.png 208w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><\/figure>\n\n\n\n<p>inspirados en los ideales de la revolucion francesa\u2192 se revelan en 1798 liderados por el legendario Toussaint L\u2019Overture<\/p>\n\n\n\n<p>declaran la indem\u00a1pendencia en 1804 y se declaran \u201cHait\u00ed\u201d, palabra Ta\u00edno que significa monta\u00f1as altas<\/p>\n\n\n\n<p>entre la independencia y 1860 la iglesia cat\u00f3lica no ten\u00eda presencia oficial en el pa\u00eds or lo que las religiones africanas fueron muy prominenetes por multiples generaciones<\/p>\n\n\n\n<p>1915- 20 year occupation de usa (introducci\u00f3n del jazz y el swing a la m\u00fasica haitiana)<\/p>\n\n\n\n<p>1935- retirada de usa, siguen una serie de dictaduras cortas<\/p>\n\n\n\n<p>1957- power grab de Fran\u00e7ois \u201cPapa Doc\u201d Duvalier, hasta 1971 que muere y su hijo Jean-Claude \u201cBaby Doc\u201d asume el poder<\/p>\n\n\n\n<p>1986- popular rising y termina la dictadura<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">N\u00e9gritude and Haitian Art<\/h3>\n\n\n\n<p>1930 y 1940, importantes desarrollos artisticos y literarios surgen en las french-speaking islas del caribe<\/p>\n\n\n\n<p><em>N\u00e9gritude<\/em>\u2192 movimiento anti-colonial que busacba definir y avanzar la identidad negra en las colonias y reconectar a sus habitantes con sus raices africanas<\/p>\n\n\n\n<p>literatura:<\/p>\n\n\n\n<p>Aim\u00e9 C\u00e9saire, `poeta dramaturgo y alcalde(?)<\/p>\n\n\n\n<p>L\u00e9opold S\u00e9dar Senghor, poeta\u2192 futuro presidente de senegal<\/p>\n\n\n\n<p><em>N\u00e9gritude<\/em> influenci\u00f3 muchos otros movimientos en el mundo como la Harlem Renaissance y la pre-eminancia del arte haitiano que en el siglo xx alcanz\u00f3 un unprecedented leve of world-acclaim<\/p>\n\n\n\n<p>arte haitiano- embraced <em>indigenisme,<\/em> search for african roots. emphasizes bright colors and depicts forest scenes of everyday life as well as vodou rituals y haitian rev<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">VODOU<\/h3>\n\n\n\n<p>significa \u201cesp\u00edritu\u201d o \u201cdeidad\u201d en el lenguaje Fon de Benin<\/p>\n\n\n\n<p>equivalentes de los <em>orishas<\/em> de la santer\u00eda cubana y los <em>orixas<\/em> de Blrasil<\/p>\n\n\n\n<p>como otros paises con alta cantidad de personas africanas en condici\u00f3n de esclavitud, desarrollaron su propia mezcla de ritos africanos y europeos<\/p>\n\n\n\n<p>Vodou (voudou, vaudou, voodoo o vodun), sistema sincretico de creencias que surge en el s. xvii en las plantaciones de ca\u00f1a y <em>marron<\/em> communities<\/p>\n\n\n\n<p>varios lideres de revolucion eran sacerdote vodou, como:<\/p>\n\n\n\n<p>Guinean Fran\u00e7ois Mackandal, revoluci\u00f3n de 6 a\u00f1os que termina con su ejecucion en 1758<\/p>\n\n\n\n<p>Boukman, similar uprising en 1791<\/p>\n\n\n\n<p>nace ne slave plantations y simboliza el struggle for independence del l8 s. xviii<\/p>\n\n\n\n<p>importante expresion de la determinacion haitiana que ayuda al movimiento revolucionario de L\u2019Overture<\/p>\n\n\n\n<p>plantation owners y catolicos asociaron el vodou con satanismo y el \u201cmal\u201d<\/p>\n\n\n\n<p><em>potomitan<\/em>\u2192 un poste de madera que conecta la tierra, agua y cielo por el que viajan los esp\u00edritus. se pone en el centro de los rituales<\/p>\n\n\n\n<p>los rituales aim ffor un estado de trance que abre la puerta a los esp\u00edtirus y permite la comunicacion y\/o posesion de un <em>Iwa<\/em> en espec\u00edfico<\/p>\n\n\n\n<p>assistance de ancestros<\/p>\n\n\n\n<p>si es exitoso el ritual, el <em>Iwa<\/em> participa del ritual e incluso pide que muscia quiere que sea tocada<\/p>\n\n\n\n<p><em>tanbou<\/em> drums are considered deities, respected while in use, put to \u201csleep\u201d at other times<\/p>\n\n\n\n<p>several distinct drumming styles are linked to particular areas of the country:<\/p>\n\n\n\n<p><em>petwo<\/em> derivado de africa central (congo, angol, mozambique), asociado con los violent clashes de la independencia. usa 3 tambores conicos de cuero de cabra <em>manman, ral\u00e9<\/em> <em>kata<\/em>, usualmente mas peque\u00f1os que los <em>rada<\/em> drums, se tocan con la mano<\/p>\n\n\n\n<p><em>rada<\/em> derivado de africa oeste (ghana, nigeria, togo, benin). este ritmo usa 3 tambores de cuero de vaca <em>manman, segon<\/em> y <em>boula<\/em> (mother, second, small), tocados con baquetas<\/p>\n\n\n\n<p>otros estilos: <em>bizango, dahomey, mayi, ged\u00e9<\/em> y <em>banda<\/em><\/p>\n\n\n\n<p><em>kas\u00e9<\/em>: improvisatory section played over the main rhythm<\/p>\n\n\n\n<p><a href=\"https:\/\/cdn.knightlab.com\/libs\/timeline3\/latest\/embed\/index.html?source=1udQu11Xn4wkKQ0xYMuCseIhsjI7KtL5wiJN-ugEEwUs&amp;font=Default&amp;lang=en&amp;initial_zoom=2&amp;height=650\">https:\/\/cdn.knightlab.com\/libs\/timeline3\/latest\/embed\/index.html?source=1udQu11Xn4wkKQ0xYMuCseIhsjI7KtL5wiJN-ugEEwUs&amp;font=Default&amp;lang=en&amp;initial_zoom=2&amp;height=650<\/a><\/p>\n\n\n\n<p><strong>RAR\u00c1<\/strong><\/p>\n\n\n\n<p>carnaval en medio de la cuaresma: <em>mi-car\u0113me<\/em> (id-lent)<\/p>\n\n\n\n<p>raise to festival <em>rar\u00e1<\/em> de fertilidad<\/p>\n\n\n\n<p>celebraci\u00f3n rural, referida como \u201cpeasant\u201d carnival<\/p>\n\n\n\n<p>is a secular celebration<\/p>\n\n\n\n<p>strict rules control the playing, singing and dancing<\/p>\n\n\n\n<p>importamt <em>rar\u00e1<\/em> centers: L\u00e9igane in the south<\/p>\n\n\n\n<p>Artibonite valleyin the north<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>DANZAS SECULARES<\/strong><\/p>\n\n\n\n<p>franceses: gavottes, minuets, valses\u2192 \u201cafricanizados\u201d<\/p>\n\n\n\n<p><em>menwat<\/em>\u2192 derivado del minuet<\/p>\n\n\n\n<p><em>m\u00e9ringue\u2192<\/em> s.xviii en formal balls y runiones informales<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: haiti\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/1El5vvre1d44GOpKhEVU9o?si=125d7905771b4e43&#038;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>si es exitoso el ritual, el <em>Iwa<\/em> participa del ritual e incluso pide que muscia quiere que sea tocada<\/p>\n\n\n\n<p><em>tanbou<\/em> drums are considered deities, respected while in use, put to \u201csleep\u201d at other times<\/p>\n\n\n\n<p>several distinct drumming styles are linked to particular areas of the country:<\/p>\n\n\n\n<p><em>petwo<\/em> derivado de africa central (congo, angol, mozambique), asociado con los violent clashes de la independencia. usa 3 tambores conicos de cuero de cabra <em>manman, ral\u00e9<\/em> <em>kata<\/em>, usualmente mas peque\u00f1os que los <em>rada<\/em> drums, se tocan con la mano<\/p>\n\n\n\n<p><em>rada<\/em> derivado de africa oeste (ghana, nigeria, togo, benin). este ritmo usa 3 tambores de cuero de vaca <em>manman, segon<\/em> y <em>boula<\/em> (mother, second, small), tocados con baquetas<\/p>\n\n\n\n<p>otros estilos: <em>bizango, dahomey, mayi, ged\u00e9<\/em> y <em>banda<\/em><\/p>\n\n\n\n<p><em>kas\u00e9<\/em>: improvisatory section played over the main rhythm<\/p>\n\n\n\n<p><strong>RAR\u00c1<\/strong><\/p>\n\n\n\n<p>carnaval en medio de la cuaresma: <em>mi-car\u0113me<\/em> (id-lent)<\/p>\n\n\n\n<p>raise to festival <em>rar\u00e1<\/em> de fertilidad<\/p>\n\n\n\n<p>celebraci\u00f3n rural, referida como \u201cpeasant\u201d carnival<\/p>\n\n\n\n<p>is a secular celebration<\/p>\n\n\n\n<p>strict rules control the playing, singing and dancing<\/p>\n\n\n\n<p>importamt <em>rar\u00e1<\/em> centers: L\u00e9igane in the south<\/p>\n\n\n\n<p>Artibonite valleyin the north<\/p>\n\n\n\n<p><strong>SECULAR DANCES<\/strong><\/p>\n\n\n\n<p>franceses: gavottes, minuets, valses\u2192 \u201cafricanizados\u201d<\/p>\n\n\n\n<p><em>menwat<\/em>\u2192 derivado del minuet<\/p>\n\n\n\n<p><em>m\u00e9ringue\u2192<\/em> s.xviii en formal balls y runiones informales<\/p>\n\n\n\n<p><strong>COMPAS AND CADENCE<\/strong><\/p>\n\n\n\n<p>from the heavily latinized context, 1950s\u2192 new haitian style: <em>compas direct,<\/em> abrev. <em>compas\/konpa<\/em><\/p>\n\n\n\n<p>danza, combina el <em>m\u00e9ringue<\/em> con influencias extranjeras incluidas:<\/p>\n\n\n\n<p>merengue dominicano<\/p>\n\n\n\n<p>son cubano<\/p>\n\n\n\n<p>calypso y soca de trinidad<\/p>\n\n\n\n<p>reggae de jamaixa<\/p>\n\n\n\n<p>soukous- afropop congolest<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Musique savante ha\u00eftienne\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/playlist\/0OYU2X7IKg2IXqp56tP2Vx?si=ace5577a5805402f&#038;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>19th century:<\/p>\n\n\n\n<p>establishment of the military wind band, or fanfare, as the only provider of a steady income for professional musicians.<\/p>\n\n\n\n<p>Fanfares were located in the principal towns and provided Sunday concerts featuring a repertory of fashionable quadrilles, marches and waltzes of European origin.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"555\" src=\"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-content\/uploads\/2025\/02\/imagen-2.png\" alt=\"\" class=\"wp-image-88\" srcset=\"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-content\/uploads\/2025\/02\/imagen-2.png 800w, https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-content\/uploads\/2025\/02\/imagen-2-300x208.png 300w, https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-content\/uploads\/2025\/02\/imagen-2-768x533.png 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/blogs.bl.uk\/americas\/2012\/09\/the-empire-of-haiti-digitising-some-of-the-nineteenth-century.html\">https:\/\/blogs.bl.uk\/americas\/2012\/09\/the-empire-of-haiti-digitising-some-of-the-nineteenth-century.html<\/a><\/figcaption><\/figure>\n\n\n\n<p>1860\u2192 concordat with the Vatican\u2192 influx of trained music teachers of the religious orders:<\/p>\n\n\n\n<p>establish schools, which soon founded their own fanfares, rivalling the more polished, government-sponsored groups.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><a href=\"https:\/\/folkways.si.edu\/rhythms-of-rapture-sacred-musics-of-haitian-vodou\/caribbean-world\/music\/album\/smithsonian\">https:\/\/folkways.si.edu\/rhythms-of-rapture-sacred-musics-of-haitian-vodou\/caribbean-world\/music\/album\/smithsonian<\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Indigenous art music has its origins in the French colonial period, when symphonies and concertos were composed by theatre musicians.<\/p>\n\n\n\n<p>After the revolution there was a desire to retain European standards while including local features.<\/p>\n\n\n\n<p>The compositions of Occide Jeanty (1860\u20131936), bandleader of the government\u2019s Musique du Palais, typify this tendency: his medium was the fanfare, for which he produced works with a political dimension, such as his 1804 commemorating the independence of Haiti.<\/p>\n\n\n\n<p>The shock of the American occupation of 1915\u201334 resulted in a greater emphasis being placed on folk elements by such composers:<\/p>\n\n\n\n<p>Ludovic Lamothe (1882\u20131953)<\/p>\n\n\n\n<p>Justin Elie (1883\u20131931)<\/p>\n\n\n\n<p>Franck Lass\u00e8gue (1890\u20131940)<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><strong>(i) Song<\/strong><\/p>\n\n\n\n<p>Songs are almost always sung in call-and-response fashion between the song leader and the congregation, spoken of in Haiti as voye chante (\u2018sending a song\u2019) and ranmase chante (\u2018gathering a song\u2019).<\/p>\n\n\n\n<p>he majority of Vodou songs are of an anhemitonic pentatonic character, occasionally with added transitional tones. Some alternate between two tonal centres, often a tone apart.<\/p>\n\n\n\n<p><strong>(ii) Rituals<\/strong><\/p>\n\n\n\n<p><strong>(a) Rada rites<\/strong><\/p>\n\n\n\n<p>The majority of Rada rhythms are in what might be described as a 12\/8 metre. The boula pattern on the second and third beats of each group of three is also relatively invariant across this repertory<\/p>\n\n\n\n<p>Common rhythms played in Rada ceremonies include yanvalou (the centrepiece of a Rada dans), mayi, zep\u00f2l and nago. Dances typically proceed anticlockwise around the poto mitan, but changes in the choreography are introduced by \u2018breaks\u2019 (kase) in the rhythm, which often have the effect of precipitating possessions. Fleurant (1996) has classified the obligatory sequences of dances that appear in Rada ceremonial contexts.<\/p>\n\n\n\n<p><strong>(b) Petwo-Kongo<\/strong><\/p>\n\n\n\n<p>The lwa of Petwo are typically hotter in temperament, more demonstrative and theatrical<\/p>\n\n\n\n<p><strong>(3) G\u00e8de and banda<\/strong><\/p>\n\n\n\n<p>The G\u00e8de spirits (such as Bawon Samdi and G\u00e8de Nibo) rule the cemetery, govern transitions between life and death, and have an important role in fertility and rebirth. Despite their Dahomey origins, they stand somewhat outside Rada and Petwo, tending to be comically obscene, unpredictable or even terrifying.<\/p>\n\n\n\n<p>A number of repressive campaigns have been carried out against Vodou in the belief that it is primitive or demonic, including the anti-superstition or renunciation campaign of the early 1940s. In the late 1980s, many Vodou priests were killed in the aftermath of the overthrow of the Duvalier dictatorship because of the high rate of ougan (officiants) in Duvalier\u2019s militia (the Tonton Makout)<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">2. Music of festivals, daily life and recreation<\/h3>\n\n\n\n<p><strong>(i) Rara<\/strong><\/p>\n\n\n\n<p>This springtime festivity takes place largely during Lent and increases in frequency towards Easter weekend. It appears to have developed from the French colonial practice of holding a second carnival (Carnaval Car\u00eame) at the end of Lent, prior to Easter, when slave processionals with mock-royal costumes visited the \u2018great houses\u2019 on the plantation to solicit donations of food and money.<\/p>\n\n\n\n<p>There are many tuning systems used for vaksin but usually they exploit approximate minor 3rd intervals (creating tritones and arpeggiated diminished chords, but without a harmonic intent), with two of the vaksin often tuned approximately a semitone apart. One of the vaksin pitches generally serves as the tonal centre of rara songs. Like Vodou songs, most rara songs exhibit anhemitonic pentatonic melodies and may contain additional pitches that could be characterized as \u2018passing\u2019 tones, with the result that the vaksin and song melodies share some pitches, but also contain other pitches that are exclusive to each and add tension to the overall sound.<\/p>\n\n\n\n<p><strong>(ii) Karnaval<\/strong><\/p>\n\n\n\n<p><em>karnaval<\/em>: creole, 3 days before lent<\/p>\n\n\n\n<p><strong>(iii) Konbit music<\/strong><\/p>\n\n\n\n<p><em>konbit<\/em>: cooperative work association, involves a system of mutual self-help and has counterparts in West African agricultural practices.<\/p>\n\n\n\n<p>The labour is often accompanied by a musical ensemble whose only duty is to entertain and inspire the workers and may include a simpe hoe blade on which the singer taps a timeline, a kongo percussion ensemble or a full complement of vaksin as in a rara ensemble. The simidor (or sanba) leads songs and improvises lyrics on topical subjects. Most observers of rural agriculture note that the institution of konbit is in decline.<\/p>\n\n\n\n<p><strong>(iv) Dance<\/strong><\/p>\n\n\n\n<p>Among the many kinds of dances performed at parties is the djouba (juba), which is sometimes called matinik, perhaps through its association with immigrants from Martinique<\/p>\n\n\n\n<p>Figure dances were brought to Haiti from France in the 18th century and were taught in rural as well as urban contexts by travelling m\u00e8t dans (dance masters); they are still practised in some remote locations.<\/p>\n\n\n\n<p>Genres such as kontradans (contredanse), kadri (quadrille), menwat (minuet), and eliyanse (Lanciers) are still played under thatched shelters in some areas for recreation or to follow Vodou ceremonies (see Yih, 1995 for further discussion of this context).<\/p>\n\n\n\n<p><strong>(v) Children\u2019s songs<\/strong><\/p>\n\n\n\n<p>strong European influence; they may follow an implicit harmonic progression and undoubtedly descend from European children\u2019s songs<\/p>\n\n\n\n<p><strong>(vi) Obscure instruments<\/strong><\/p>\n\n\n\n<p>The relative isolation of Haiti\u2019s rural areas has permitted obscure or peripheral instruments (many of African origin) to survive, in some cases played only by children<\/p>\n\n\n\n<p>tanbou marengwen (mosquito drum), which consists of a cord stretched from a small, bent tree to a hole in the ground covered with thatch.<\/p>\n\n\n\n<p>Another instrument of probable African origin is the ganbo (stamping tube), played in an ensemble in which each player stamps two bamboo tubes of different lengths (and pitches) on the ground to create an ostinato that may substitute for a drum battery.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">3. Popular music<\/h3>\n\n\n\n<p><strong>(i) M\u00e9ringue<\/strong><\/p>\n\n\n\n<p>Throughout the Caribbean, European figure dances played by musicians of African descent evolved into new, hybrid styles, often as accompaniment for couple dances. One of the first of these (appearing soon after the founding of Haiti) was the karabiny\u00e8 (carabinier, the army\u2019s artillery division), the direct precursor of the m\u00e9ringue (see Merengue).<\/p>\n\n\n\n<p>most of the 19th and 20th centuries, the m\u00e9ringue was a national genre, danced at rural informal parties, at working-class bars and at high-class soir\u00e9es (especially after anti-American sentiment during the US occupation fuelled a nationalist movement among the \u00e9lite).<\/p>\n\n\n\n<p>Some of the most enduring Haitian m\u00e9ringues (e.g. Choucoune, Souvenir d\u2019Ha\u00efti and Angelique O!) were composed by middle-class poets, composers and troubadours; others circulated anonymously as comments on social or political affairs (e.g. Panama M Tombe and Merci Papa Vincent, both ridiculing former presidents of Haiti).<\/p>\n\n\n\n<p>The instrumentation for m\u00e9ringues varies as widely as the contexts. They are played using only percussion instruments after a Vodou ceremony has ended, as parlour m\u00e9ringues (m\u00e9ringues lentes) for \u00e9lite audiences by chamber groups of piano and strings, in dance halls and hotels by orchestras and in the streets, at festivals and hotels by small troubadou (troubadour) or mizik gwenn siw\u00e8l (\u2018nougat\u2019) ensembles<\/p>\n","protected":false},"excerpt":{"rendered":"<p>HAITI El tercio oeste de la isla de Hispaniola, que comparte con RD Creole- Kw\u00e9yol (mezcla entre franc\u00e9s, ingl\u00e9s y espa\u00f1ol) hoy en dia creole y frances son reconocidos f como seugnda lengua HISTORICAL OVERVIEW mid s.XVII los franceses comenzaron a desplazar a los espa\u00f1oles 1697\u2192 fue cedido a francia por un tratado, lo llamaron [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-13","post","type-post","status-publish","format-standard","hentry","category-sin-categoria"],"_links":{"self":[{"href":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-json\/wp\/v2\/posts\/13","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-json\/wp\/v2\/comments?post=13"}],"version-history":[{"count":5,"href":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-json\/wp\/v2\/posts\/13\/revisions"}],"predecessor-version":[{"id":211,"href":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-json\/wp\/v2\/posts\/13\/revisions\/211"}],"wp:attachment":[{"href":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-json\/wp\/v2\/media?parent=13"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-json\/wp\/v2\/categories?post=13"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.uniandes.edu.co\/musicas-latinoamericanas\/wp-json\/wp\/v2\/tags?post=13"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}