by Cicely Richard

Created on: July 05, 2008

Like many cultures in the Caribbean, Haiti has a varied background that has shaped all aspects of their lives. Their multicultural background has affected their artistic expressions, such as their music. Haitian music receives it inspiration from European colonialism, particularly France, and African slavery. Yet, the music has a great amount of Spanish infusion via the Dominican Republic and Cuba. Music derived from Vodou ceremonial traditions and Compas are styles unique to Haiti.

Although the majority of Haitians practice Roman Catholicism, some still practice Vodou and percussion used in spiritual music. It is essentially spiritual music that is used as a part of religious rituals. The music mixes African spirits of prominent religious figures with Roman Catholic Saints. The music conjures up spirits called Iwa, and each Iwa's personality trait determines the type of instruments and songs to use in the ceremony.

The two kinds of Iwa are rada and petwo. Ceremonies may use the rada drum with cowhide covers attached with wooden pegs, or the petwo drums with goatskin covers attached with cords, producing an aggressive sound. Vodou rhythms and sounds also take on the characteristics of the region of the performers.

Compas, derived from a mixture of European ballroom dancing, is a complex form of music and common in Haiti's middle class. The music is played with an undercurrent of tipico and meringue. Most of Haiti's early music combined Western and African dances. The early forms of this music have morphed into variations of the minuet.

During the 20th century, Compas added other types of music to this style, including Cuban son, calypso, salsa, soca, and soukous. When American military occupied Haiti in 1915, they introduced swing and big band music to the island, and musicians incorporated them into Compas.

In the mid-1950s, Compas direct was invented by a group of artists called Coronto International and eventually spread to other parts of the world. It became a political tool of the Duvalier dictatorship to signal praise and divert attention from socio-political oppression. The music was also used as an instrument to question authority.

Most modern Compas music does not deal with social and political issues. The music is more contemporary in its themes. In the late 20th and 21st centuries, themes include heterosexual relationships and propagate lewd and suggestive music and male chauvinist attitudes.

Haiti also became part of the hip hop movement, producing homegrown rappers. These songs deal with social and political issues and materialism. Hip hop artists in Haiti combine urban beats with their traditional Compas. Interestingly, Haitians are the worldwide leaders in hip hop.

Music continues to evolve. Each generation adds its own unique touch to the established art form, making it something fresh and exciting for those listening to them.

Learn more about this author, Cicely Richard.
Click here to send this author comments or questions.