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Our culture will survive with help from Dance, Drums, Songs

By Max A Joseph Jr- Nov 29-Dec 5,2006-HAITIAN TIMES- ddjougan@yahoo.com

On November 19th, the Feet of Rhythm Dance Company gave a mesmerizing rasin-based performance that left the audience overjoyed and appreciative of the dance and musical presentation at The Kumble Theater for the Performing Arts at Long Island University in Brooklyn. “Heritage” produced and directed by renowned dancer, choreographer, and teacher of traditional Haitian dances, Nadia Dieudonné, was a fitting tribute to Haitian culture on the 203rd anniversary of the battle of Vertières that sealed the fate of France’s colonial domination of Haiti.

To me, it was a heartfelt experience that corroborated the accepted view of Vodou and its derivatives (rasin music and folkloric traditions) as the cradle of Haitian identity. Appropriately the play provided a perfect hindsight into the perpetual struggle of those courageous Haitians who refuse to abandon the legacy of their ancestors. The enthusiastic response and appreciation was such that many in the audience myself included timidly lamented afterward the fact that we did not bring our children to share the overwhelming experience.

Since its inception in 1994, Feet of Rhythm Dance Co. has come to rely primarily on the support of outsiders, which may explain its near-anonymity within the Haitian community. Even its media release for the November 19th event was largely ignored by the community’s media, a disturbing reality that illustrates the group’s uphill battle for recognition which could only be won with these pioneers’ indomitable spirit and devotion to the advancement of Haitian culture.

Unlike the well-financed, corporate-sponsored Dance Theater of Harlem, Feet of Rhythm epitomizes the perseverance of some Haitian men and women who repudiate the idea of abandoning their rich traditions, even in the face of scornfulness and indifference. Besides the riveting performance and the elaborate costumes, what makes the realization all the more commendable is the reality Feet of Rhythm Dance Co. is a non-profit organization that operates on a shoe-string budget and the benevolence of its members.

Emblematic of the organization’s difficulties are the dearth of financial support from the business community, and an official recognition of promoter of Haitian culture by the Haitian state or its representatives in the U.S. The few sponsors of the event, Peter Pouchon of Caribbean Images, Opamisik, Sony “Bel Anfom” of Bel Entertainment, and Caribbean Cultural Center, deserve the community’s greatest admiration for their support of this worthy yet underappreciated cause.

Apparently, the members’ unwavering dedication and pioneering spirit prevailed over any obstacles, as the financial cost associated with producing a show of this caliber was beyond the group’s meager resources. Succinctly put, the realization of “Heritage” in the face of such overwhelming odds was irrefutable proof the determination exemplified by our valiant ancestors against the French naturally found its way into the hearts of their descendants.
In a materialistic world where success is determined by ostentatious assets, these men and women, with their MBAs and assorted professions, could have chosen the path of financial rewards but selflessly dedicated themselves to the promotion of their culture. This visionary and selfless attitude of those cultural warriors is certainly one of the bright spots in a community whose dynamism and creativity have been rendered ineffective by infighting or indifference.

Like Moses in the Old Testament, these exceptionally talented men and women’s difficult journey into the wilderness of willful ignorance and apathy that permeates the Haitian consciousness will someday bring the emancipation of their brethren. Besides, their educational backgrounds and pedigrees could play a fundamental role in neutralizing the destructiveness of the self-acquired inferiority complex that condemns every hater of Vodou traditions to a lifelong struggle with their cultural identity.

Indeed, the public’s favorable reception is the greatest obstacle facing these men and women, as Haitians remain hopelessly trapped in the speculative belief these promoters and performers of traditional dances are inveterate Vodou sympathizers, adepts, or possibly sorcerers. Ironically, some of the performers grew up in the United States and quite conceivably never been to a Vodou ceremony, which is consistently portrayed by propagandists and self-haters as demonic, primitive, and proletarian.

For the most part of my life, my dogmatic disapproval of organized religions prevented me from either embracing or practicing Vodou, even though I held Vodouists in great esteem because of their uncompromising resistance to oppression and mockery. Thus, I inadvertently neglected a fundamental part of my culture, which, to my defense, could be generally attributed to the prejudicial teachings of the oppressive catholic schools I attended.

Attitude controls behavior. Over a year ago, in my own car, I came face to face with bigotry in the form of a vitriolic admonition for playing of a rasin song by Azor, one of Haiti’s foremost singers of traditional songs. The passerby, a complete stranger, told me in no uncertain terms that he was deeply disappointed by my behavior, which, believe it or not, was merely listening to a traditional song whose lyrics depicted Jesus’ final hours with his disciples. That was the extent of my seemingly inappropriate behavior.

This entrenched disapproval of a fundamental part of our traditions is undeniably one of the root causes of the country’s inability to forge a stable and prosperous society despite the linguistic, cultural, and ethnic homogeneity that supplement two centuries of self-rule. Fortunately, since the mid-1980’s, rasin music has been at the forefront of a cultural awareness among Haitians, best exemplified by the uncommon determination of the men and women of Feet of Rhythm. Indeed, Haitian culture, despised by some and admired by others, will survive.

The American Folk Festival comes rain or shine

By Kristen Andresen - Saturday, August 25, 2007

The Katiana Malbranche (left) with the Feet of Rhythm group leeds the parade marking the beginning of the 3rd annual American Folk Festival in Bangor Friday. (Bangor Daily News/Gabor Degre)

Nothing could've rained on this parade. A 10-foot-tall stilt walker surrounded by dancers waving flags and shaking sequin-clad hips — aka the Haitian rara band Feet of Rhythm — led crowds of bopping revelers toward the Railroad stage as the American Folk Festival on the Bangor Waterfront opened Friday evening. After a forecast of showers, the gray afternoon gave way to muggy sunshine — but a little rain wouldn' t have stopped at least one festival-goer.

I was hoping it wouldn't be a downpour, but we brought our ponchos," said Linda Thomas of Bangor, who has made the event an end-of-summer ritual for the last six years. "We're going to be here unless there's lightning. You know what they say in Maine, if you don't like the weather, wait a little bit."

Weather or not, a "robust"number of people came, though festival organizers hadn't released crowd estimates at press time. Julia Olin of the National Council for the Traditional Arts, which produces the event and the National Folk Festival, said the "huge crowds" and enthusiasm in years past bode well for the American Folk Festival's continued success.

" You're in the prime,"she said, smiling and surveying the sea of people watching the Irish ensemble The Green Fields of America, "just the absolute, glowing prime.

Now in its third year as an independent festival, this offshoot of The National has established itself as the region's biggest event of the summer — last year, 162,000 people attended over the course of the weekend. Olin stressed that this is a pivotal time for the festival's future in terms of fundraising and community support, which will ensure that the event remains free.

"Maine is not a wealthy state, and the money here is raised a little bit at a time," she said. "So far, no big corporate sponsor has stepped forward to be a presenting sponsor."

On Friday, Gov. John Baldacci took the stage to announce a $20,000 gift to AFF, putting organizers that much closer to their $1.03 million fundraising goal for 2007. A $169,000 deficit remains.

"You can see by the turnout —that this is certainly money well-seeded here," Baldacci said. "It draws to the region. It brings families who eat in the restaurants, stay in the hotels, shop in the shopping centers, over a two- to three-day period. We think that's a huge benefit."

Sandy and Bob Soucy of Wolfeboro, N.H., are part of that trend. They planned their Maine vacation around the festival and arrived early to stake out seats in front of the Heritage stage. Before the music began, they looked at their schedules and highlighted performances they wanted to see.

"For me, I'm interested in the other things, the things you can't see everywhere else, like the Inuit throat singers and the Tibetan monks," Sandy Soucy said.

As Andrew and Rebecca Croce of Bangor watched their 20-month-old son dance to the sounds of the Bruce Daigrepont Cajun Band, they echoed Soucy's sentiments. The couple lived in New Orleans before returning to their hometown, and they were looking forward to a little crawfish etoufee and a lot of music.

"I really like that they don't cater to the lowest common denominator," Andrew Croce said. "You don't just get your blues or your rock 'n'roll. I'm sure they know that polka and storytelling [won't bring in huge crowds], but they still push the good stuff."

The Croces love "the vibe" that the festival brings to town — during its three-day run and, increasingly, year-round. "The more things like this you have, the more viable Bangor becomes as a venue for artists."

Heather McCarthy, the festival's executive director, dreams of a year-round venue —similar to the Grand Auditorium in Ellsworth or the Strand Theatre in Rockland —where festival favorites can play during the off months — as a means of raising money toward the August event, as well as a way for locals to reconnect with bands they love.

"I think the folk festival has gotten people more excited about what the possibilities are," McCarthy said. "I think it's provided a cultural cornerstone that has spread out into a lot of areas."

Dwain Winters, the NCTA' s technical director, said that cultural awakening is a true sign of whether or not a festival will thrive.

"We' re no longer in that, ' Are we bigger than we were last year?' mode," Winters said. "The true measure of success is how much people appreciate the music, the dance, the food. — The audience has become very sophisticated. During a set change, people are moving from stage to stage deliberately. People are beginning to have favorites. They're developing a taste in a genre. They're not simply coming to a big event, they're coming to something they have a vested interest in — that's another mark of success."

By Cynthia Karaha
www.myspace.com/worldmusicpromotions.com
karahacworldmusicpromotions.com

FOR IMMEDIATE RELEASE
November 7, 2006, Brooklyn, N.Y. - In the quest to explore and develop the perfect setting to give something back to her homeland, Haiti, Nadia Dieudonné has paid tribute to the Haitian heroes in ..HERITAGE... This production is described as a choreo-drama, which reflects the middle passage of Africans to Haiti and their resistance to slavery. However, it is more then just a stage performance. ..HERITAGE.. is the beauty of the Haitian culture coming to life in its purest form. It is feeling the essence of the people..s strength developing right before your eyes, which explains their incurable romance with Haiti.

..HERITAGE.. is the concept and creation of Nadia Dieudonné to commemorate one of the most critical events in world history .. ..The Battle at Vertieres.. (Nov. 18th, 1803).. The final battle for independence. On Jan. 1, 1804, Haiti became the first Black Republic of the New World...

..HERITAGE.. is definitely a statement in itself and a breakthrough in how the Haitian traditional dance and music are represented in a dream like story presentation. A core of talented veteran dancers, choreographers and teachers join as ..Feet of Rhythm,.. under the directions of Nadia Dieudonné, to execute this daring seven scene production. The rich percussions and the powerful steps are based on traditional Haitian rhythms. You will find that the call-and-response of the drums and vocals intertwined magically with the loose body gesture of the dancers as to implicate the intricacies of the dance patterns. Nadia has pushed the envelop on this concept, the drums appear to be guided by her soul, and her dancing is like a bright flowing kit on a Sunday afternoon; defying gravity as to say she has two invisible wings. As to the audacious aspect of the show, Nadia Dieudonné chooses the "Petwo.. rhythm to execute a ..Fire Dance.. which symbolizes the anger of the enslaved fighting against oppression in ..HERITAGE... In the Haitian culture, men are mostly known to dance with fire, yet Nadia is one of the rare women capable of interpreting this dangerous dance. ..HERITAGE.. is full of colors, expression of life and playful nuisance, which captures a sense of fun and pride of the Haitian people. ..From the first scene until the end, audience members were enraptured..... ..Haitian Times

As Musical Director ..Daniel Beaubrun,.. renowned bass player, founding member and producer for 1992 Grammy nominated band Boukman Eksperyans, has created the musical score and implemented a live band. It is a band composed of some of Haiti..s finest musicians and percussionists, which is an integral part of the show. The music is predominantly based on legendary rhythms: Yanvalou, Parigol, Mayi, Dahomen, Nago, Ibo, Petwo, Rara and Banda, which are driven by the drums, yet the trickery of sound is flavored with the zest of the guitar and bass line. Joining in this multitude of talent as guest vocal artists are: Eddy Francois, mostly known as a prominent ..Sanba.. lead singer in Rasin (roots) music, former lead singer of Boukman Eksperyans and his own band Boukan Ginen along with Rozna Zila, electrifying solo vocalist/dancer, former singer for Boukan Ginen and Ram.

..HERITAGE.. has been well received and applauded at the Brooklyn Museum of Art and at the Schomburg in Manhattan. ..HERITAGE.. has been described as a Broadway play without losing the soul of the Haitian culture. I assure you that the rhythms, the story, the colors, the healing songs, and the emotional dances of ..HERITAGE.. will be permanently ingrained in your memory.

Supporters: Opamizik -www.opamizik.com
Sony Bel Anfom
Caribbean Images-Peter Pouchon
Cabane Kreol -Lesly

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Biography

Nadia Dieudonné & Feet of Rhythm is an Afro-Haitian folkloric dance company created to preserve and promote the rich culture of Haiti. Since 1994, the nonprofit group has personified Haitian pride by performing at cultural events worldwide including the Wasshoi International Dance & Music festival in Saki, Japan; Brooklyn Museum of Art; several cultural festivals in Canada, Downtown Dance Festival in Battery Park; Prospect Bark-Band shell, Bryant Park, The African Heritage Guggenheim Festival, The Dance Theater Workshop/NYC, Schomburg and Lincoln Center-Out of Doors.

Feet of Rhythm specializes in theater, concert, festival, and band performances and is capable of presenting Haitian folklore tales in theatrical manners. Each choreo-drama reflects traditional Vodou dances, which is fused with Dieudonné unique contemporary movements.

Feet of Rhythm..s trademark is in the energy of its dancers and drummers. Each dynamic choreography is based on an original arrangement of live drumming with chanting and sounds of nature. Visual effects are as important as the dance performance; therefore, specific setting and props are built to allow better understanding of each dance, and the traditional Afro-Haitian costumes are redesigned with new touches that correspond with the performance. The modern touch to traditional choreographies and costumes helps to reach a younger audience thirsty for their ancestry.

Feet of Rhythm is not just a dance group it is an educational presentation of the African and Haitian heritages. A workshop often precedes the performance that is based on historical dance description in relation to the sound of the drums.

Nadia Dieudonné is a talented choreographer, dancer and teacher who began dancing at an early age. By the age of 12 Nadia was performing with well known Haitian folk singer and activist Mrs. Myriam Dorismé. Nadia..s innate talent as an Afro-Haitian dancer grew stronger in 1990, as she began to travel back to her homeland to research and study the origins, purposes of Haitian dance and its connections to Africa. Today, after more than 15 years of dancing and performing, Nadia is known as the best Banda dancer outside of Haiti. Her expertise comes out of her diligent study of the folkloric heritage of Haitian dance. She honed her skills by attending several Lakous (communities that preserve and practice specific Vodou ceremonies) in the countryside and dance schools in Port-au-Prince. She also has been guided under the tutelage of the renowned school of Haitian dancer Viviane Gauthier along with independent study with various esteemed folkloric dance companies. In 1994, she founded Feet of Rhythm, an Afro-Haitian dance company where she creates, develops and fuses the traditional Vodou dances with her own unique contemporary style. She has worked with Masters in the field, such as Haitian icon Jean-Léon Destiné & his Afro-Haitian Dance Company, and the acclaimed Dinizulu African drummers, singers, and dancers. She has also danced with Forces of Nature and Charles Moore Dance Theater. Nadia performs and conducts master classes throughout the US and abroad..Canada, Guadeloupe, Haiti, Holland, Japan and Trinidad