“On the Other Side of the Water” shows the formation and evolution of an Haitian- Brooklyn Rara band. What is rara? How did it begin? How important is it to Haitian culture? Nobody really agrees or knows the answer to these questions- the best you can do is gather a ton of opinions and see what sticks the most. Rara is like a traveling band with horns, drums, and whatever instruments/ noise makers happen to be around; although, now it is taking on more defining characteristics, like having lots of horns playing. Some say rara began in relation to funeral processions, harvesting, or ‘Law says So’ Day during slavery times in Haiti. Some disregard Rara as something uncultured, associated with the poor, and unchristian due to its Vodou influence. Others argue that it is the most authentic form of Haitian identity, which has a negative connotation in America due to HIV rumors and its status as a third world country. Rara also becomes shown in a negative light as it becomes present in protests, which some claim reduces regard for the protests, and often draws an unruly crowd. Rara supporters say it is political in nature and is not the party it seems and that rara is meant to be chaotic. The realness of rara comes into question as well. Rara traditionally is not rehearsed and is spontaneous, anyone would wants to play and dance join along. The rara taking form in Brooklyn, following trends from Haiti, rehearses the music and more narrowly defines the sound, which some say is not the real rara. This film also depicted a lot of other transnational actions of the Haitian community, such as sending money home and members of the band taking care of one another since their parents are home/ are unmarried. This film also depicts how the occurrences in Haiti directly affect the American community because once coup d’etat       an uproar of the Haitian- American community responded, not only to that, but to all the other negative images and injustices inflicted upon their community.

Wilcken writes about Vodou’s transnational journey and its consequent misrepresentation. In American culture, Vodou has this kitschy vibe, with crazy dancing, zombies, vodou dolls. Dark and Unpleasant images of cannibalism and sacrifice has been spread through colonial tales. However, this sort of my mindset underscores the real Vodou religion of Haiti. Ever since its formation, believers have to justify their belief in something that most people have been unknowingly influenced to believe is both childish and barbaric. Haitians in America who believe in Vodou are in charge of clarify their beliefs, correctly presenting them, and expanding the wider public knowledge. Some companies present Vodou theater performances, which showcase their heritage in a positive light that they control, but is not necessarily how Vodou rituals were meant to be. So the question appears of how authentic is this sort of Vodou. There is also a question of Vodou has a nationalistic, cultural symbol of Haiti, but this also generalizes Vodou beliefs, distilling it for massive consumption, like theater performances. Vodou is meant to be a spiritual, religion to be followed by believers- not a side act to other agendas.