In the World of Words: stycznia 2009

wtorek, 27 stycznia 2009

Chanter chez Chantal

Just two days before my supposed departure from Guadeloupe for French Guiana, Chantal held the first of the planned monthly events, “La taîte de chanté.” Originally, the soirée was to take place at the Jardin Biguine, but because of the ongoing strike, as far as I can tell the Jardin was closed at the time.
That Tuesday night, all music lovers and friends gathered in Chantal’s garden. My neighbor also invited her two dear friends-musicians, to accompany our joyful choral attempts. She had spent I do not know how many hours typing and copying a selection of popular songs in French, English, and in Creole. Obviously, the guests could also bring their own ideas; the handouts were just to get us to sing initially.
When, together with Annick, we finally appeared in the garden, exhausted having made two plates of pancakes, the party had already begun. I saw Chantal – hurrying around serving food and drinks, and making sure everybody was comfortable. The crowd was at the second song from the handout, I believe. Then Chantal took over the mic for a few minutes, and initiated another hit.
With the time passing, more and more people reached for the microphone and suggested some well-known songs. I was particularly appreciative of the two musicians, who quickly recognized each melody and accompanied the enthusiastic singer.

niedziela, 18 stycznia 2009

Dancing Gwo-Ka

In January I had some more opportunities to practice Gwo-Ka, the dance I was introduced to over the summer. What I particularly like about Gwo-Ka sequences is the fantastic sensation that the whole body participates in each movement. The steps are rapid and change quickly. If danced in a group, the Gwo-Ka and its sequences are dependent on rhythm changes. If one dancer faces a few Gwo-Ka drummers, it is to the drummers to adapt the rhythm to the dancer’s body expression.
In my opinion, for a white beginner the two greatest challenges are: hips shaking and fully relaxing one’s body to leisurely follow the rapid rhythm. I have noticed that the two do not pose any problem to the Guadeloupeans (even to complete beginners!). Yet, what surprised me, the Antillais struggle learning polka-like jumpy steps which also occur in Gwo-Ka sequences.
Not a professional dancer myself J, I would nevertheless argue that each of us is born with a certain level of Gwo-Ka predispositions…
Below, three shots from a Wednesday session in Gosier, followed by two photos taken during a lesson by InDesTwas-Ka in Petit-Bourg (I participated in the latter one by invitation from Luana and Andrei).

niedziela, 11 stycznia 2009

Le Carnaval

Le Carnaval a commencé au début de janvier. Malheureusement, je n’ai pas pu aller voir le premier défilé à Pointe-à-Pitre. Avec un groupe d’amis on a par contre regardé une nouveauté de cet année, une sorte de pré-défilé, quand plusieures groupes se sont présentés sans costumes, mais déjà dans l’ambiance festive. Le défilé a eu lieu à la gare routière, à deux pas de la gare maritime.
J’espérais pouvoir participer au carnaval plus tard dans l’année (tant en Gwada qu’en Guyane), mais deux événements m’ont malheureusement forcé à changer les plans et m’ont donc empêché de pleinement profiter de mon année Watson. D’abord, à cause de la grève en Guadeloupe qui a duré 44 jours – dès le 20 janvier jusqu’au 4 mars – beaucoup d’événements culturels ont été annulés. Pendant la grève, à cause de l’insuffisance d’essence, les gens ne circulaient pas. La seule fois quand j’ai pu revoir la foule défiler pendant le Carnaval c’a été donc au Gosier.
D’après ce que j’ai entendu, la grève a eu un impact pareil sur la vie culturelle en Guyane, surtout à Cayenne. Pourtant, mes explorations du Carnaval guyanais n’ont pas été mises en question à cause de la grève. Un accident m’a temporairement empêché de continuer le voyage. Mais vue que ce n’est pas un sujet carnavalesque, j’en parlerai plus tard...

The Carnival began in early January. Unfortunately, I did not go to see the first défilé in Pointe-à-Pitre. With a group of friends we participated, however, in what has recently been introduced – a sort of a pré-défilé when different groups march without the Carnival costumes, yet with the music instruments. The event took place on a Saturday, one day before the official launching of the Carnival 2009, at the bus station - not far from the ferry terminal.
I was hoping to see and participate in more of the Carnival events later this year (both in Guadeloupe and in French Guiana), but sadly two unfortunate events had me change my Watson plans. First, because of the strikes lasting in Gwada for 44 days (since January 20 until March 4), most of the cultural events were cancelled. It was difficult to move around the island given the gas shortage throughout the duration of the strikes. The only time when I had the chance to see one more défilé was thus in Gosier.
As far as I know, the strikes had a similar impact on the cultural scene in Guiana, and particularly in Cayenne. However, I did not change my plans to explore the Guianese Carnival because of the social and political turmoil. An accident had a temporary impact on my Watson trajectory. I will talk about it a bit later, given that the accident had nothing to do with the Carnival spirit.

wtorek, 6 stycznia 2009

Post artystyczny

Gwadelupa tętni artystycznym życiem. Szybko zauroczyły mnie tutejsze rytmy, kolorystyka oraz zamiłowanie ludności do tańca i śpiewu. Ja sama z przyjemnością sięgałam po gitarę – by zaintonować wszystkim znane „Zombie” (The Cranberries), dać posłuchać polskiej kolędy, ale też by nauczyć się lokalnych piosenek, np. „Silans” Patricka Saint-Eloi.
The arts are of great importance in Guadeloupe. Myself, I quickly fell in love with local rhythms, colors, and the passion of the Guadeloupeans for dancing and singing. By playing the guitar, I could have my own input on the local amateur scene. I would sing the easily recognizable “Zombie” by The Cranberries, I would demonstrate a Polish Christmas Carol, but I would also grab the guitar to learn some local songs such as “Silans” by Patrick Saint-Eloi.

W Casino du Gosier odkryłam talenty lokalnych artystów takich jak Leedyah Barlagne – moja wakacyjna nauczycielka śpiewu, czy widoczny na zdjęciu Dominique Bernier. W Casino przyszło mi też stawiać pierwsze nieśmiałe „zoukowe” kroki, szlifowane później na wielu lokalnych imprezach.
The Casino du Gosier was where I first discovered the talent of such local artists as Leedyah Barlagne (my summer Creole music teacher) and Dominique Bernier (in the photo). After the concerts I would then learn first basic zouk steps, which I later worked on at many local parties.

Poza zoukiem, dałam się też namówić na karaibską salsę. Mimo że nie bardzo związana z kulturą francusko-kreolską, salsa okazała się dobrym sposobem nawiązania lokalnych znajomości i zasięgnięcia języka. Np. do chóru kościelnego w Gosier przyłączyłam się w grudniu - wskutek rozmowy z Nolwenn, poznanej właśnie na lekcji salsy.
After the zouk, salsa was yet another of my Caribbean dance discoveries. The salsa does not have much to do with the local Creole culture, but when participating in dance lessons, I established new contacts and found more ways to explore the local “Creolity.” For example, not long after I returned to Gwada in December, at one of the salsa lessons I met Nolwenn, thanks to whom I later participated in Christmas rehearsals of the local Church choir.

Nwel Pakala to jedna z grudniowych imprez plenerowych koło plaży Datcha w Gosier.
Nwel Pakala was one of the outdoors Christmas events by the Datcha beach in Gosier.

Podczas występu wspomnianej wcześniej Leedyah w Oberge de la Vieille Tour, zostałam zaproszona do wspólnego odśpiewania „Doudou pa pléré” i „Mwen domi dewo” – piosenek, których Leedyah nauczyła mnie jeszcze w wakacje.
Having previously seen Leedyah on stage on many occasions, and then having taken Creole music lessons with the singer, I have recently had the chance to hear her sing at the Oberge de la Vieille Tour in Gosier. At the end of the performance Leedyah invited me to join her in singing „Doudou pa pléré” and „Mwen domi dewo” – the songs I learned with her over the summer.

Wieczorki u Michaëla równały się odkrywaniu amatorskiej sceny teatralnej Gwadelupy, jak również podziwianiu popisów muzyczno-aktorskich. Wśród gości – wszelcy miłośnicy sztuki. W programie – śpiew, skecze, wspólny posiłek i kupa śmiechu.
At the soirées at Michaël’s I had the opportunity to sample the amateur theater of Gwada. Myself, I participated in these evenings of artistic expression by singing and playing the guitar. Among the guests were art lovers of all sorts, who performed, sang, shared a common meal, and simply had a lot of fun together.

Podczas wizyty u Serge’a, miałam okazję nie tylko dokładnie przyjrzeć się studiu nagrań, w którym produkowali się tacy artyści jak Jocelyne Béroard, ale również osobiście wziąć udział w jego muzycznym projekcie. Moja polska improwizacja (a było to o podróży pociągiem) była potrzebna Serge’owi do jakiejś wielojęzykowej składanki.
Serge has a recording studio. As far as I can tell, artists such as Jocelyne Béroard recorded their songs at this place. On the day of my visit not only did I have the chance to look around, but I was also asked to record a short impro in Polish (about traveling by train) to be later included by Serge in his music project.