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11 - Konpa, Zouk, and the Politics of World Music

Haiti, Dominica, Guadeloupe, and Martinique

Published online by Cambridge University Press:  17 September 2022

By
Hélène Zamor  and
Apollinaire Anakesa Kululuka
Edited by
Nanette de Jong
Nanette de Jong
Affiliation:
University of Newcastle
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Summary

This chapter explores the politics of world music through an analysis of konpa and zouk. The first section provides overviews of both genres, carefully emphasising their creole beginnings. The second section focuses on how globalisation and ‘world music’ marketing have individually and collectively impacted on the two genres over the years.

Keywords

French CaribbeanKonpaZoukGlobalisationWorld Music
Type
Chapter
Information
The Cambridge Companion to Caribbean Music , pp. 159 - 172
Publisher: Cambridge University Press
Print publication year: 2022

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References

References

Anakesa Kululuka, Apollinaire. 2002. ‘La World musique savant: une nouvelle identité de la musique contemporaine?’ Musurgia. 9, nos. 3–4, 55–72, 78.Google Scholar
Averill, Gage. 1993. ‘Toujou Sou Konpa. Issues of Change and Interchange in Haitian Popular Dance’. In Guilbault, Jocelyne, Averill, Gage, Benoit, Edouard and Rabess, Gregory, eds., Zouk: World Music in the West Indies. Chicago: University of Chicago Press, 217–47.Google Scholar
Bohlman, Philip. 2002. World Music: A Very Short Introduction. Oxford: Oxford University Press.Google Scholar
Bunce, Michael. 1994. The Countryside Ideal: Anglo-American Images of Landscape. New York: Routledge.Google Scholar
Fleurant, Gerdès. 2007. ‘Haitian Vodou and Its Music’. In Kuss, Malena, ed., Performing the Caribbean Experience, vol. 2.. Austin: University of Texas Press, 237–50.Google Scholar
Gilroy, Paul. 1991. There Ain’t No Black in the Union Jack: The Cultural Politics of Race and Nation. Chicago: University of Chicago Press.Google Scholar
Lockard, Craig. 1998. Dance of Life: Popular Music and the Politics in Southeast Asia. Honolulu: University of Hawaii Press.Google Scholar
Martins, Pim, Akin, Su-Mia, Maud, Huynen, and Mohsin, Raza. 2010. ‘Is Globalization Healthy: A Statistical Indicator Analysis of the Impacts of Globalization on Health’. Globalisation and Health. 6, no. 1, 1–14.Google Scholar
Taylor, Timothy. 1997. Global Pop: World Music, World Markets. New York: Routledge.Google Scholar

Further Reading

Averill, Gage. 2008. A Day for the Hunter, A Day for the Prey. Chicago: University of Chicago Press.Google Scholar
Cyrille, Dominique. 2002. ‘Sa Ki Ta Nou: Creole Dances of the French Caribbean’. In Sloat, Susanna, ed., Caribbean Dance From Abakuá to Zouk. How Movement Shapes Identity. Gainesville: University of Florida Press, 221–44.Google Scholar
Fleurant, Gerdès. 1996. Dancing Spirits: Rhythms and Rituals of Haitian Vodun, the Rada Rite. Westport, CT: Greenwood Publishing Group.Google Scholar
Guilbault, Jocelyne, Averill, Gage, Benoit, Édouard, and Rabess, Gregory. 1993. Zouk: World Music in the West Indies. Chicago: University of Chicago Press.Google Scholar
Stokes, Martin. 2012. ‘Globalization and the Politics of World Music’. In Clayton, Martin, Middleton, Richard, and Herbert, Trevor, eds., The Cultural Study of Music: A Critical Introduction. London: Routledge, 129–38.Google Scholar

Discography

Carimi. 2001. ‘Ayiti Bang Bang’. Carimi Bang Bang. ADI Music. CD.Google Scholar
Carimi. 2001. ‘Chagrin kriminel’. Carimi Bang Bang. ADI Music. CD.Google Scholar
Desvarieux, Jacob F. and Georges Décimus. 1984. ‘Zouk La Sé Sèl Nou Ni’. Jacob F. Desvarieux/Georges Décimus. GD Productions GD 022. CD.Google Scholar
Ensemble Nemours Jean-Baptiste. 1960–1. ‘Rythme Commercial’. Musical Tour of Haiti. ANSONIA (ALP), IBO Records. LP.Google Scholar
Halliar, Paul-Emile, et Son Orchestre Jeunesse ‘Biguine fisée’. 1963–7. Hommage à Paul-Emile Halliar et Son Orchestre Jeunesse. Debs. CD.Google Scholar
Halliar, Paul-Emile, et Son Orchestre Jeunesse. 1963–7. ‘Chofè a camion’. Hommage à Paul-Emile Halliar et Son Orchestre Jeunesse. Debs. LP.Google Scholar
Magnum Band. 1982. ‘Libèté’. La Seule Différence Adoration. Mini Records-MRS 1140. LP.Google Scholar
Tabou Caombo. 1991. ‘Yo’. Zap Zap. Sonodisc 8058. CD.Google Scholar
Ti-Manno. 1982. ‘Nan Danje’. Gemini All Stars de Ti-Manno. Chancy Records-CRLP 8016. LP.Google Scholar
Ti-Micky. 2014. ‘Nou Paré’. Attaché. Couleurs Music Publishing. CD.Google Scholar
Ti-Vice. 2009. ‘Welcome to Haiti’. Ti-Vice Welcome to Haiti. Rhythm and Harmony Records. CD.Google Scholar

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