Amending the Afro Latin Diaspora: A Proposal in Defense of Haitian Music

This dissertation examines the role of Haitian music in the family of Latin music. In 1804, Haitian slaves victoriously rebelled against the French oppressors, creating the first Black republic in the western world. Because of this event, the elite of neighboring countries labeled and marketed Haitians as savage. Haitian culture, along with its music, became misidentified as uncivilized. However, Haiti has contributed musically while borrowing from neighboring countries, such as Dominican Republic, Cuba, and United States of America. For example, Haitian Mereng is one of the core foundations for the invention of Dominican Republic???s national music Merengue. Traditional Dominican Merengue???s successor, Merengue perico ripiao, was one of the essentials used in the creation of Haiti???s national music, Konpa. In Cuba, Haitians brought Vodou and Gaga which contained two essential rhythmic cells, cinquillo and tresillo. From these two rhythms, the popular Cuban Danzon and Bolero Ritmico were created. Haitians that heard Cuban music via returning from Cuba to Haiti or listening to the radio incorporated elements of Cuban rumba, bolero, and son into their music. The influence of Cuban music in Haiti was so great that popular Haitian music was sung in Spanish, the bands had Spanish names, and rumba became standard Haitian musical repertoire. Two classically trained Haitian pianists, Ludovic Lamothe and Justine Elie, pioneered music by combining Afro Latin rhythms and European classical music. This synthesized never before heard combinations like classical Vodou and classical merengue. Combinations of European, slave and indigenous music represents one of the trademark sounds of Afro Latin music