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Haïti Chérie" (French pronunciation: [a.iti ʃeʁi]: Dear Haiti) [1] is a traditional patriotic song of Haiti of a poem written by Othello Bayard that was initially called it Souvenir d'Haïti ("Memory of Haiti") [2] and composed to music in 1925. It is widely considered as a second national anthem, [3] and one of Haiti's most famous ...
Haitian gospel music, began its roots in the rise of Christianity, when it was first imported to the island by Spain's Christopher Columbus in the 15th-century and again by the French during colonial years of Saint-Domingue, as Jesuits and Capuchins served as missionaries to continue the proliferation of Catholicism.
Erzulie nennen O", also known simply as "Erzulie", is a song composed at the age of 14 by the Haitian singer Kandjo (1879–1947), also known as Auguste de Pradines. "Erzulie" is often said to be one of his most beloved songs.
Some rasin songs are based on prayers directed to particular loa, or gods, while others may be ballads relating to Haitian mythology. Many songs contain multiple layers of meaning, and can be interpreted as social or political commentary. Songs often emphasize spiritual messages of tolerance, faith, justice, and universal love.
Print/export Download as PDF; ... Pages in category "Haitian styles of music" ... Compas; H. Haitian gospel; Haitian rock; Haitian Vodou drumming; Haitian hip-hop; K ...
One of the most distinctive features of Haitian compas music is its steady, pulsing drumbeat, which makes it easy to dance to. [3] Haïti Chérie is a traditional patriotic and most recognizable song of Haiti that was written and composed by Dr. Othello Bayard de Cayes and was initially called Souvenir d'Haïti. It represents the pride Haitian ...
The lyrics are a mixture of English, Creole, and French, and many of the songs are narratives of the personal experiences of the band, or social commentary on current events in Haiti. "Boat People Blues" on the album Puritan Vodou , for example, offers a lament for the refugees who fled Haiti following the 1991 coup d'état .
The exact origin of preaching chords being played in African American Baptist and Pentecostal churches is relatively unknown, but is mostly believed to have started in either the early or mid-20th Century, at a time when many African-American clergymen and pastors began preaching in a charismatic, musical call-and-response style. [3]
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