In this week’s reading, we learn about an integral aspect of Haitian culture: Vodou. Vodou came about from a need for some ability to resist authority and power figures. It s a form of religion that originated amongst slaves under French rule. Dance and music are some of the most central aspects of Vodou, as well as various other rituals and ceremonies. By performing these dances, rituals, etc., the people who were being suppressed by the figures of power were able form a cohesive community and hold important gatherings.
I think that one of the most interesting aspects of this passage is how, during the United State’s occupation of Haiti in the early twentieth century, Americans hijacked Vodou from the Haitians and used it for their own advantage. Writers used aspects of Vodou such as Zonbis (what we know as Zombies) to create works that entirely misrepresented Vodou, and Haitian culture at large. These works also sent the dangerous message to Americans that “Haiti needs white North Americans to solve the problems by its own ignorance and superstition.” This message is so harmful because it marginalizes Haitians and essentially mocks a large part of their culture.
The passage then delves deeper into the world of Vodou dance. This form of dance shares its roots in European dance styles such as ballet, and uses similar terminology for the composition of the dances. Accompanying the dance is the beat from the drummer who plays the kase.
Again, in the 1970s, due to undesirable circumstances, Haitians had to submit to the demands of curious Americans, who wanted to see the, in their eyes, strange acts performed in Vodou. When these people thought they were seeing what Vodou was really like, it was just an even more far off bastardization of it.
Finally, Tuesday’s video, The Other Side of the Water, explored an exciting group of Haitian musicians, taking place mainly in Brookleny. First of all, I have to say that I really enjoyed the music that they played. It was so spontaneous and exciting, centered around thick drum beats. On top of these beats, however, came all sorts of sounds. It seemed like when people did not have any legitimate instruments, they would use whatever they had around them to join in the Rara. Of course, given the very casual nature of Rara, which is basically a large group marching around playing music, there were other people who played trumpet and other instuments as well. As imagined, though, this form of music takes many forms of significance within the Haitian community. In times of crisis or injustice, Rara is a medium to achieve solidarity or express protest; in times of joy and happiness, Rara can be used for nothing but celebration. Even though back in Haiti many years ago Rara was considered unruly, Haitians have now embraced it as it brings them back to their homeland, and inspires a strong sense of community.
