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Compas
| Compas | |
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| Stylistic origins | Méringue |
| Cultural origins | 1955, Haiti |
| Derivative forms | |
| Fusion genres | |
| Regional scenes | |
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| Music of Haiti | ||||
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Compas (French pronunciation: [kɔ̃pa]; Haitian Creole: konpa dirèk;[2] French: compas direct), also known as konpa or kompa, is a modern méringue dance music genre of Haiti.[1] The genre was popularized by Nemours Jean-Baptiste following the creation of Ensemble Aux Callebasses in 1955, which became Ensemble Nemours Jean-Baptiste in 1957. The frequent tours of the many Haitian bands have cemented the style in all the Caribbean. Therefore, compas is the main music of several countries such as Dominica and the French Antilles.[3] Whether it is called zouk, where French Antilles artists of Martinique and Guadeloupe have taken it, or konpa in places where Haitian artists have toured, this méringue style is influential in part of[4] the Caribbean, Portugal, Cape Verde, France, part of Canada, and South and North America.[5][6][7]
Nemours Jean-Baptiste (1918–1985) was an important figure in the creation and popularization of konpa dirèk. Born in Port-au-Prince, Jean-Baptiste grew up in a musically inclined family, and his early exposure to various forms of music shaped his later innovations.[8] In the 1950s, Haiti’s music scene was heavily influenced by traditional meringue, but Jean-Baptiste wanted to modernize this sound by incorporating elements of Latin and jazz music, which were becoming popular across the Caribbean at the time.[9] The Ensemble Aux Callebasses, later became the Ensemble Nemours Jean-Baptiste. His ensemble introduced a new style of meringue with more structured rhythms and harmonic arrangements, characterized by the inclusion of electric guitars, saxophones, and a strong brass section.[10]
Compas blends African, Latin and European influences, reflecting Haiti's cultural heritage resulting from their colonial past.[11] The music’s adaptable nature allowed it to break class barriers in Haiti, being embraced by both the elites and working-class communities.[8] As konpa evolved in the 1960s and 1970s, it began to influence other Caribbean genres like Dominican merengue and zouk in the French Antilles, contributing to its international reach. Jean-Baptiste's contributions established konpa as a cornerstone of Haitian cultural identity.[10]
- ^ a b Hall, Michael R. (2012). Historical Dictionary of Haiti. Scarecrow Press. p. 69. ISBN 9780810878105. Retrieved 2 December 2014.
- ^ Sam Bleakley; J. S. Callahan (2012). Surfing Tropical Beats. Alison Hodge Publishers. p. 149. ISBN 9780906720851.
- ^ All Music Guide 1997. World Music. French Antilles p901 Published by Backbeat Book CA. Caribbean Music Styles
- ^ Coupé Cloué and other Haitian bands touted the French Antilleans and have further exposed the Konpa Direct style
- ^ Manuel, Peter (2006). Caribbean Currents: Caribbean Music from Rumba to Reggae (2nd ed.). Philadelphia: Temple University Press. ISBN 1-59213-463-7.
- ^ Gage Averill (1997). Caribbean Current: A day for the hunter. A day for the prey. Chicago and London: The University of Chicago Press.
- ^ Peter Manuel (1988). Popular Musics of the Non-Western World. Oxford University Press. pp. 72–74.
- ^ a b Daniels, Douglas Henry (2001). "Review of A Day for the Hunter, A Day for the Prey: Popular Music and Power in Haiti; Dancing Spirits: Rhythms and Rituals of Haitian Vodun, the Rada Rite, Gerdès Fleurant". Journal of Haitian Studies. 7 (1): 156–161. ISSN 1090-3488. JSTOR 41715088.
- ^ WXPN. "The birth of Konpa! – A conversation with Haitian producer and musician Fabrice Rouzier and singer-songwriter Nathalie "Talie" Cerin". WXPN | Vinyl At Heart. Retrieved 2024-12-09.
- ^ a b Zamor, Hélène; Kululuka, Apollinaire Anakesa (2022), de Jong, Nanette (ed.), "Konpa, Zouk, and the Politics of World Music: Haiti, Dominica, Guadeloupe, and Martinique", The Cambridge Companion to Caribbean Music, Cambridge Companions to Music, Cambridge: Cambridge University Press, pp. 159–172, doi:10.1017/9781108379779.012, ISBN 978-1-108-42192-8, retrieved 2024-12-09
- ^ American Contact: Objects of Intercultural Encounters and the Boundaries of Book History. University of Pennsylvania Press. 2024. doi:10.2307/jj.7823706.50.
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