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Viviane (or Vivianne) Gauthier (March 17, 1918 [1] – June 1, 2017 [2]) was a Haitian dancer and teacher of Haitian folkloric dance who studied Haitian folklore with Katherine Dunham-trained Lavinia Williams of which she is considered the heir. She eventually opened the Viviane Gauthier School of Dance in Port-au-Prince, Haiti.
Haitian mythology consists of many folklore stories from different time periods, involving sacred dance and deities, all the way to Vodou.Haitian Vodou is a syncretic mixture of Roman Catholic rituals developed during the French colonial period, based on traditional African beliefs, with roots in Dahomey, Kongo and Yoruba traditions, and folkloric influence from the indigenous Taino peoples of ...
The Haitian expression, Mereng ouvri bal, mereng fème ba; (The mereng opens the ball, the mereng closes the ball) alludes to the popularity and ubiquity of the méringue as an elite entertainment. In nineteenth-century Haiti, the ability to dance the méringue, as well as a host of other dances, was considered a sign of good breeding.
A five-note musical figure called quintolet (cinquillo in Cuba and the rest of the Spanish speaking Caribbean), became a chief feature to the kontradans and would figure prominently into the Haitian folk dance music called méringue [9] (a whipped egg and sugar confection popular in 18th century France), presumably because it captured the ...
Haitian Vodou [a] (/ ˈ v oʊ d uː /) is an African diasporic religion that developed in Haiti between the 16th and 19th centuries. It arose through a process of syncretism between several traditional religions of West and Central Africa and Roman Catholicism. There is no central authority in control of the religion and much diversity exists ...
Juba dance; K. Carabinier (dance) This page was last edited on 11 March 2024, at 06:56 (UTC). Text is available under the Creative ... Category: Haitian dances.
The carabinier (Haitian Creole: Karabinye, English: carabineer) is a traditional cultural dance from Haiti that originated back to the time of the Haitian Revolution deriving from a section of the kontradans that is said to have evolved into the méringue or mereng (Haitian Creole) dance. [1] [2] [3]
The dance involved a series of straight-backed, held-torso, French style figures and then African-styled improvisation on the final set [1] much like the tumba francesa that later emerged in Cuba by Haitian refugees escaping the Haitian Revolution, but was performed to the string and woodwind instruments, instead of the drums.