The readings the last two weeks have been very refreshing. We’ve talked a lot about transnationalism and migrant networks, but really only seemed to focus on economic and political aspects. Many of the articles we’ve read focused very heavily on these issues, though each article gave varying perspectives. I’m glad we have started to take a closer look at some of the more social and cultural aspects of transnationalism. After reading about J’ouvert and Carnival last week, we continued to examine music and other traditions this week.
On Tuesday we watched The Other Side of the Water, which chronicled a group of young Haitian immigrants trying to establish an old Haitian tradition in the streets and parks of Brooklyn, New York. This old tradition is that of rara, a sort of street festival music. A rara group would come together with a bunch of different instruments, such as horns, trumpets and drums, and perform for whoever was around. People could join in and eventually a large chorus would break out in the middle of the street. The men in the movie are credited with creating the first (and currently only) sustained rara band in America, dubbed Djarara. This ensemble ends up becoming more than just a band; many Haitian immigrants in New York used this traditional music from Haiti to combat the many new stigmas associated with Haitian immigrants. For example, the AIDS epidemic and the rise of controversial policing ostracized many in the Haitian community. Djarara, a new take on a classic art form, united Haitians abroad and kept many going through rough times. The most interesting part about the film to me was how there was some conflict between how to go about performing rara in Brooklyn. Some of the older men felt that it should be played more traditionally; no rehearsals and anyone who passed by could join in. Younger men felt that it should be more finely crafted and that there should be rehearsals and a set list.
Moving into our article for Thursday, we looked at another traditional aspect of Haitian culture, Vodou. Vodou, more often written as Voodoo, is a religion that grew to prominence among African slaves in the Caribbean after many enslaved Africans were forced to convert to Christianity. There are some parallels between the two religions, but the largest differences revolve how each is celebrated. Vodou, unlike most forms of Christianity, revolves around music and dance as a form of “meditation for the body.” Although hymns and psalms are a large part of many Christian churches, most do not focus so deeply on music and dance. Slow, rhythmic drum beats often lead the pace for Vodou dance rituals, and help provide a “fuel” for the dance and guide participants. Call and response songs are also a large part of Vodou rituals, something Vodou celebrations share with Christian ones. To me, it is pretty ironic how a religion that gained so much popularity because it was practiced in response to another forced religion could share so much with the religion that was being forced upon. Another odd thing about Vodou is how it is often dual-perceived. As noted in the article, many factions tend to identify with Vodou to suit their own purposes. One could look at is a revolution starter, something that helped unite slaves to rise up and fight for what is right. That same person, later, could refer to Vodou as something to be avoided; something so powerful that it can change loved ones for the worse.
