sound. (You can order a copy of this CD from Mambo K's Crossroads).

Each kase bridges one section of the main rhythm with the next, and is timed to give direction to the dancers. Upgrade Now. It remains the most prominent religion in the country to this day. Its members embody attributes of warriors and leaders. These drums are all slender and somewhat conical.

Folkways Records

While drumming does exist in other contexts in the country, by far the richest traditions come from this distinctly Haitian religion. 7:46. In fact, music played for the Kongo nanchon is unique in that it is also popular in secular settings.

Ellipsis Arts, 1997. And it features, in an orderly fashion, Bosou, Belekou, Agawou, Kouzen and the Nago Nation. The origins of this nanchon are unclear, but many believe them to be the spirits of the original slaves and Haiti’s indigenous people (The Taino – almost completely wiped out after European contact), a sort of "home-grown" family of spirits.

This album also features Agasou, Silibo Vavou, Agwe, Lasiren, Labalen, and Grann in respective order. As each section has a uniquely specific dialogue, the Manman follows the Gwònde’s lead with the appropriate response.

It is played with a stick in the strong hand and bare handed with the weak hand. This ongoing dialogue between the drummers and dancers continues late into the night, and throughout the week-long celebration.A Kreyol proverb in Haiti says "Dèyè mòn genyen mòn", which means "Beyond the mountains, there are mountains".

1 listener, Manbo Vivi "HAITI VODOU: THE VOODOO DRUMS OF HAITI" Various Artists (Red Eye Music 2010) [1] He is macabre, obscene and lives in cemeteries. The Rough Guide to the Music of Haiti.

They personify peasants, both in appearance and manner. Ayibobo 5 (Lwa Nan Nò) puts into evidence a regional segment of the Kanzo rite whose popularity is in question. Some people place Djouba under the Petwo Branch, and some others consider the Kongo branch its own entity. The Manman enters last, with a powerful phrase which firmly establishes her as the head of this musical family. The implications of this evolution in drum use are hard to analyze or predict. CDs: Angels in the Mirror: Vodou Music of Haiti.

Ranges in height from 30 to 48 inches.

Even though Haiti became independent during a slave uprising in 1804, (the only successful slave revolt in modern history), Vodou continued to be practiced in different ways by different communities around the country.

Ayibobo 9 allows us to enjoy the various facets of Kouzen Zaka in the majestic Djoumba rythm. Ayibobo 3 picks up what was left out from its esteemed predecessor. Vodou drumming and associated ceremonies are folk ritual faith system of henotheistic religion of Haitian Vodou originated and inextricable part of Haitian culture.. Vodou drumming is widely practiced in urban centres in Haiti and some cities in North America (especially New Orleans).The ritualistic faith system that involves ceremonies that consist of singing, drumming and dancing. Danbala Wedo Vodou n a We Yo and Badji-m 2. Some of similar transformations lead to some syncretic practices in Haiti and likes of North America (especially New Orleans), Santeria (Cuba), Candomble (Brazil), Obeayisne (Jamaica), and Shango (Trinidad) . Other resources for Haitian drumming: Books and CDs There are at least 19 different rhythms, each with its own kase. to add tension on the skin. 1 listener, Manbo Vivi However, some discussion of forms and techniques involved is … Every rhythm has a kasé, and every kasé has its own way to enter and exit from the main line. "Prepare" - Frisner Augustin and Makandal - La Troupe Makandal, Inc. The principal loa for this group is Azaka. In vodou worship houses called tanp (from the French temple) dolls representing these spirits are displayed adorned in brightly coloured clothing. The tone created is high, but somewhat muted.
much more slender tapered bottoms.

Djouba - The loas of this nanchon are connected to cultivation and farming. Vodou music Overview (current section) Artists Albums Tracks Wiki Shouts Don't want to see ads?

Roots Without End: Songs for Vodou with Mambo Racine Sans Bout. Recordings, 1995. Vodou is a creolized religion forged by descendants of Dahomean , Kongo , Yoruba , and other African ethnic groups who had been enslaved and brought to colonial Saint-Domingue (as Haiti was known then) and Christianized by Roman Catholic missionaries in the 16th and 17th centuries. The drums are now playing the first section of Akbadja. Petwo drums (Tanbou Petwo), Carved wood covered with goat-skin attached with ropes; (left) Manman or Baka; (right) Rale or Ti-Baka; (foreground) Kata. The voices of the Souvenance drums have a deeper pitch than Port-au-Prince Rada drums, and this difference is accentuated by the Katabou.

Some user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. Increasingly, particularly in New York and by default throughout the rest of the U.S., the Rada drum ensemble has eclipsed the Petwo ensemble and all rhythms in the Vodou rites are being played on them. Lakou Badjo has Nago (Yoruba) roots, and Lakou Soukrie is where the Kongo (Central/Southern Africa) traditions are preserved. The name might be derived from a slave priest of mixed African and Spanish Blood name Don Pedro who was one of the rebellion’s leaders.

"Rhythms of Rapture: Sacred Musics of Haitian Vodou" – Various Artists – Smithsonian Vodou is a syncretic religion combining Roman Catholicism and native African religion, particularly the religion of the Dahomey region of Africa (the modern day nation of Benin). In Souvenance, the kase serves two functions: its performance dictates certain movements to be executed by the dancing participants – telling them when to turn around in place or change directions – and also serves as a bridge between the various sections of a rhythm. There are many loas in this group.

For the purposes of drumming, we will use the two-branch differentiation, as rhythms most rhythms being played in non traditional contexts today use either the Rada or Petro batterie. music. Forced conversions to Christianity and trade in forced slavery in Africa lead to continuing drumming traditions in disguising as veneration of christian saints until overthrowing of french colonial government by Haitian republic in early nineteenth century. Voodoo Drums. The variety I mention this point in that many transcriptions being shared and taught today (including those in some of the publications listed below) use only the Rada ensemble. The Ason is a gourd rattle covered in a web of beads used particularly by the priests during the Rada ceremonies. Santeria: Songs for the Orishas. The best known loa of this group is Ibo Lélé (the chatterer).

The rhythm and dance style associated with this nanchon also goes by the same name. Let us know what you think of the Last.fm website.