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Compas (known as simply konpa or kompa) is a modern méringue, the national music genre of Haiti that people have been dancing and singing since the 1800s. Popularized by Haitian sax and guitar player Nemours Jean-Baptiste in 1955, compas is the main music of many countries such as Dominica and the French Antilles, etc. Whether it is incorrectly called zouk where French Antilles artists of Martinique and Guadeloupe have taken it or compas in places where Haitian artists have toured, this méringue style is very influential in the Caribbean, Africa, Cape Verde, Portugal, France, part of Canada, South and North America.

Etymology and characteristics

Compas is short for compas direct in French. In Creole, it is spelled as konpa direk or simply konpa.

History

Nemours Jean-Baptiste presented his “Ensemble Aux Calebasses” in 1955 (named after the club “Aux Calebasses” located at Carrefour, a western neighborhood of Port-au-Prince; Haiti's capital where the band used to perform on weekends). Compas popularity took off likely due to the genre's ability to improvise and hold the rhythm section steady. Jean-Baptiste incorporated a lot of brass and easily recognized rhythms. Compas is sung in Creole, English, Spanish, French, Portuguese, etc. Nemours' popularity grew in and out of the country. Its clean horn section was remarkable and the band featured méringue tunes that gained instant popularity. For example, in Martinique, several music groups: Ensemble Abricot (bienvenue, festival compas), les djoubap's (Isabelle), combo jazz (electronique compas, pa gadem sou cote), Georges Plonquitte (vini dance compas direct), etc. have all within a year conquered the public with the many tunes or compositions of Nemours. Later Nemours became a favorite of Dominican president, Joaquín Balaguer who often contracted the band. This is why hits like "ti Carole", "Chagrin d'amour" featured by known Dominican stars Luis Miguel and others are also sung in Spanish.

In the late 50s Nemours and the Sicot Brothers from Haiti would frequently tour the Caribbean, especially Curaceo, Aruba, St Lucia, Dominica and mostly the French Islands of Martinique & Guadeloupe to spread the seed of the méringue-cadence or compas. Webert Sicot, the originator of cadence recorded three LPs albums with French Antilles producers: two with "Celini disques" in Guadeloupe and one with "Balthazar" in Martinique. Haitian compas or cadence bands were asked to integrate Antillean musicians. Consequently, the leading "Les Guais troubadours", with influential singer "Louis Lahens" along other bands, played a very important role in the schooling of Antilleans to the méringue compas or kadans music style. Almost all existing Haitian compas bands have toured these Islands that have since adopted the music and the dance of the méringue.

Dance style

The dance-style that accompanied konpa dirèk in the 1950s, was a two step dance called kare (square). As a méringue, a ballroom dance, compas is danced in pair. Sometimes partners dance holding each other tightly and romantically; in this case often most of the moves are made at the hips.

Méringue-compas or cadence and its derivatives

Today the méringue-compas, deeply rooted in many countries, has influenced many music styles and been called other names:

Cadence-lypso

Cadence-lypso is the Dominican kadans of the 1970s. The leading figure in the promotion of the Cadence-lypso was the Dominican group Exile One (based on the island of Guadeloupe) and Grammacks that featured the Haitian Cadence rampa or compas with the Trinidadian calypso, hence the name cadence-lypso; however, most of the bands repertoire was kadans

This fusion of kadans and calypso accounts only for a small percentage of the band's repertoire: Exile One like all Dominica kadans bands featured reggae, calypso and mostly kadans or compas music.

The Dominican kadans has evolved under the influence of Dominican and Caribbean/Latin rhythms, as well as rock guitars, soul-style vocals and funk bass and horn styles - music from the United States. By the end of the 1970s, Gordon Henderson defined Cadence-lypso as "a synthesis of Caribbean and African musical patterns fusing the traditional with the contemporary". It was pushed in the 1970s by groups from Dominica, and was the first style of Dominican music to find international acclaim.

The full-horn section kadans band Exile One led by the talented Gordon Henderson introduced the newly arrived synthesizers to their music that other young cadence or compas bands from Haiti (mini-jazz) and the French Antilles emulated in the 1970s.

Soca

In Dominica, Lord Shorty attended an Exile One performance of cadence-lypso, and collaborated with Dominica's 1969 Calypso King, Lord Tokyo and two calypso lyricists, Chris Seraphine and Pat Aaron in the early 1970s, who wrote him some kwéyòl lyrics. Soon after Shorty released a song, "Ou Petit", with words like "Ou dee moin ou petit Shorty" (meaning "you told me you are small Shorty"), a combination of calypso, cadence and kwéyòl.

Soca's development includes its fusion of calypso, cadence, and Indian musical instruments—particularly the dholak, tabla and dhantal—as demonstrated in Shorty's classic compositions "Ïndrani" and "Shanti Om".

Zouk

The inspiration for Zouk's style of rhythmic music comes from the Haitian compas, as well as music called cadence-lypso - Dominica cadence popularized by Grammacks and Exile One. Elements of gwo ka, tambour, ti bwa and biguine vidé are prominent in zouk. Though there are many diverse styles of zouk, some commonalities exist. The French Creole tongue of Martinique and Guadeloupe is an important element, and are a distinctive part of the music. Generally, zouk is based around star singers, with little attention given to instrumentalists, and is based almost entirely around studio recordings. The French Antilles' Kassav' was the first to apply the MIDI technology to compas "digital compas". In the 1980s they took Caribbean music to another level by recording in the new digital format.

Ethnomusicologist Jocelyn Guilbault believes zouk's evolution was influenced by other Caribbean styles especially Dominica cadence-lypso, Haitian cadence and Guadeloupean biguine. Zouk arose in the late 1970s and early 1980s, using elements of previous styles of antillean music, as well as importing other genres.

Kizomba

Kizomba music was born in Angola (in Luanda) in the 80’s following the influences of traditional semba and zouk music from the French Caribbean islands. On this basis, Kizomba music emerged as a more modern music genre with a sensual touch mixed with African rhythm. Unlike Semba, Kizomba music is characterised by a slower and usually very romantic rhythm. Given that Angola is a former Portuguese colony, Portuguese is the principal language spoken in Angola and thus, also most Kizomba songs are sung in Portuguese. However, Kizomba songs of the very beginning were song in Kimbundu and in other national languages of Angola.

Today, Cape Verdean singers have gained a wide popularity with many famous Kizomba compilations, including singers such as Suzanna Lubrano, Johnny Ramos, Nelson Freitas. As a matter of course, a lot of people are confused about the origins of Kizomba music and wrongly believe it comes from Cape Verde because of their important role in Kizomba music production today. Typical music styles from Cape Verde are funana, morna, coladeira and batuque. Thanks to the zouk music from the French Antilles and the strong influence of Kizomba (from Angola), Cape Verdian singers could develop their own version of zouk-love (mixing it with coladeira) known as cabo love, cola-dance, cola-zouk, cabo-swing and ghetto zouk. Moreover, every lusophone country has developed its own Kizomba music flavour.

Coladeira

There is a strong compas influence in Cape Verdean music. During the 60s-80s Haitian artists and bands such as Claudette & Ti Pierre, Tabou Combo and mostly Gesner Henry alias Coupe Cloue and the Dominican group Exile One were very popular in Africa. Exile One were the first to export kadans music to the Cape Verde islands. In addition, the French Antilles kassav and other French Antillean musicians, which main music is compas toured Cabo island in various occasions. Many Cape Verdean artists feature compas. Talented Tito Paris "dança mami Criola" 1994, is a good example; this CD featured music close to Haiti Tabou Combo, Caribbean Sextet, Tropicana and French Antilles Kassav, etc. Cape Verdeans artists have been exposed to konpa in the USA and France. Today the new generation of Cape Verdean artists features a light compas close to Haitian and French Antillean.

Notable compas or méringue artists

• Nemours Jean-Baptiste
• Ensemble Webert Sicot
• D.P. Express
• Exile One
• Grammacks
• Kassav'
• La Perfecta
• Les Difficiles de Pétionville
• Les Frères Déjean
• Les Gypsies de Pétionville
• Les Leopards
• Les Loups Noirs
• Les Scorpio
• Les Shleu Shleu*
• Magnum Band
• Scorpio Universel
• Skah-Shah#1
• T-Vice
• Tabou Combo

See also

• Cadence rampa
• Cadence-lypso
• Caribbean music
• Haitian Carnival
• Méringue
• Zouk

References

1. Manuel, Peter (2006). Caribbean Currents: Caribbean Music from Rumba to Reggae (2nd edition). Philadelphia: Temple University Press. ISBN 1-59213-463-7.
2. Gage Averill (1997). Caribbean Current: A day for the hunter. A day for the prey. Chicago and London: The University of Chicago Press.
3. Peter Manuel, Musics of the Non-Western World, University Press 1988, p72-74
4. All Music Guide, compas direct
5. Haiti, Guadeloupe, Cabo Verde and others
6. Dominique Janvier, introduction on Nemour' album cover 1980, long vie to Nemours
7. Tambour Battant p85
8. All Music Guide 1994, compas direct
9. A Day for the Hunter, a Day for the Prey: Popular Music and Power in Haiti. Retrieved 20 March 2014.
10. Peter Manuel, Popular Musics of the Non-Western World, Oxford University Press 1988: (Nemours Jean-Bapstiste adapted the méringue to mambo-style big band instrumentation and rhythmic patterns, coining the term compas direct for his innovation. For his part, Webert Sicot is credited with popularizing the rubric cadence for his similarly modernized meringue)
11. ^ Bloomsburry Encyclopedia Popular music of the world. Exile One and Cadence-lypso. Retrieved August 10, 2010.
12. By Paul Crask. "Zouk -Dominica". The Dominican. Reprinted from National Geographic. Retrieved August 10, 2010.
13. Grammacks: mediba (kadans), banana (sweet kadans), ou pa bon, (kadans), ou pitit (kadans), reggae down, disco live (kadans) this same tune is categorized as zouk retro by Deejay Zak (midlay kadans 11/24/2011) Exile one: akiyaka, gade deye...(Midnight) get ready 1997, etc.
14. "Cadence-lypso". Adventure guide. Retrieved December 3, 2005.
15. haitianmusic.net. popular-haitian-music. Retrieved August 10, 2010.
16. Caribbean and Latin America. Introduction of digital technology. Retrieved August 10, 2010.
17. ^ Jocelyne Guilbault. Zouk: world music in the West Indies. Retrieved April 10, 2012.
18. Kuss, Malena. Music in Latin America and the Caribbean: An Encyclopedic History REANNOUNCE/F05: Volume 2: Performing the Caribbean Experience. University of Texas Press. p. 302. ISBN 0292784988. Retrieved April 10, 2012.
19. Guilbault, Jocelyne (1993). Zouk: World Music in the West Indies. p. 111. Retrieved 20 January 2014.
20. Jocelyne Guilbault. Zouk: world music in the West Indies. Retrieved August 10, 2010.
21. "Origin of kizomba". www.kizombalove.com. Retrieved December 3, 2005.
22. "Cabo zouk". cape+verde+zouk+history&source. Retrieved December 3, 2005.
23. In the 1960s the coladeira emerged as a more lively, upbeat counter-part to the morna The coladeira is performed in fast duple meter, accompanying informal pop-style couple dancing. its primary influences appear to be an obscure folk processional music by the same name, Afro-American commercial music, the morna, and most important, modern French Caribbean pop...more often it is played by a modern dance band, that is, with drums, bass, electric guitars, and the like. Peter Manuel, Popular Musics of the Non-Western World,p95. Oxford University Press 1988
24. Funkyorgan. Cadence Lypso and the organ. Retrieved August 10, 2010.
25. ...Aculturation has been further promoted by the growth of overseas communities (especially in New England) whose population now exceeds that of Cape Verde itself (around 300,000).Peter Manuel, Popular Musics of the Non-Western World,p95. Oxford University Press 1988

External links

• Experience Haitian music on Mizikpam Internet Radio

• Haitian music
• Caribbean music genres