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Pap Jazz 2025, a Celebration of Haiti’s Great Musical Richness
Pap Jazz 2025, a Celebration of Haiti’s Great Musical Richness
Pap Jazz 2025, a Celebration of Haiti’s Great Musical Richness

Pap Jazz 2025, a Celebration of Haiti’s Great Musical Richness

On Sunday, April 6, 2025, the Karibe Convention Center in Juvenat transformed into a true cultural temple to close the 18th edition of the Port-au-Prince International Jazz Festival (PAPJAZZ). This year, the festival took place under the evocative theme "PAP JAZZ it UP", and it was held in three sites primarily located in the Pétion-Ville commune. The festival took place entirely at these wonderful musical venues: a reference was made to the Latin Quarter, the Haiti-Brazil Cultural Center, and the Karibe Hotel. Due to the deteriorating situation in downtown Port-au-Prince in recent times, the French Institute site had to be abandoned by the festival organizers. Nevertheless, we can absolutely call this 18th edition of Pap Jazz a success. Indeed, this festival, now a major event of the Haitian year, was especially marked this year by the great resilience and determination of the organizers who were able to adapt to the country’s rhythm in order to satisfy their loyal festival-goers. Despite the difficult context, these festival-goers did not miss the opportunity to escape their harsh daily lives through music. It’s also important to note that this 18th edition of Pap Jazz took place after two postponements, at the very beginning of this year, with the last one occurring in March due to insecurity. In this regard, it is appropriate to call the monumental achievement of the Haïti Jazz Foundation and their partners an exceptional feat, as they were not discouraged and showed remarkable tenacity, while adapting to offer Port-au-Prince and its surroundings this moment of growth, beyond the city’s great sorrow, through music.

Haïti
Haïti
Haïti

A Program Worthy of the Event

This year, the Pap Jazz organizers particularly emphasized that the festival should be extraordinary. Given the difficult situation the country has been facing for some time, Joelle Widmaier, the festival’s artistic director, emphasized at the press conference from the start that they were aware of this situation. That is why this year, in addition to workshops and artist performances, initiatives such as "Jazz pour Timoun" (Jazz for Children), "Jazz pour les enfants déplacés à cause de la violence dans les camps" (Jazz for children displaced due to violence in camps), and "Mur de l’engagement" (Wall of Commitment) were introduced. The last initiative aimed to encourage festival-goers to make a commitment to the well-being of their country, through a written message that would later be shared on social media.

Haïti
Haïti
Haïti

A Thirsty Audience

Throughout the various events that made up the festival, the observation was the same: there was an audience with a bitter thirst to live in a better country, who made the effort to go out and experience this beautiful music festival. Whether it was at the Karibe events, those in the Latin Quarter (where the after parties were held), or at the Haiti-Brazil Cultural Center, where the workshops took place, this amazing audience, with its thirst for a better Haiti, was clearly visible on their faces. And just that seemed to be a worthy reason for everyone to feel satisfied.

Haïti
Haïti
Haïti

A 100% Local Festival

Due to the difficulties in bringing in foreign artists, as was always the case in previous editions, particularly because of the halt in services at Toussaint Louverture Airport, which can no longer receive flights from North America due to insecurity, the festival organizers made the winning decision to focus on local artists to fill the program this year. This was a good way to invest where the need is great. The absence of foreign musicians was not felt as much, as our musicians and artists gave their all to meet the satisfaction of the thousands of festival-goers who courageously traveled to experience this extraordinary artistic event.

In summary, artists such as Glaude Carré and his band behind his concept of Jazz desounen, Alexa Cherelus, Fameuse Maude who charmed the broken hearts of the Haitian people during her performance at Karibe with the famous song "Mpa ka ri" by Beethoven Obas, Ti sax, Kolo & Co, Kabysh, Welele, Ti Tanbou, Joël Widmaier himself, the great Kéké Bélizaire, young Leyla Alima, Clyde Duverné, Therly Job, Ami Jazz band, Aeson Fanfan, Norman Ineran Pierre, Ely Charles, Tiga, Alexis Lucson Mensrau, Elizer Guerismé, poet Ricardo Boucher, Badio, and the excellent Syto Cavé are, among others, names to remember, as they intelligently brought together their know-how and immense talent to offer this wonderful festival to an audience in desperate need of space for personal fulfillment.

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About the Author
Moise Francois
Moise Francois
Moise Francois

Journalist editor, poet and apprentice lawyer.

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Guédés: When Haïti celebrates its ancestors with color and fervor

Every November 1st and 2nd, Haïti comes alive with the colors black and purple to celebrate the Guédés, spirits venerated in the voodoo religion, symbols of a powerful bond between the living and the dead. Fascinating, indomitable and provocative, the Guédés form a true family in the pantheon of Haitian voodoo, where they are respected for their role as spiritual guides of the deceased to the afterlife. Led by iconic figures such as the legendary Baron Samedi and his companion Grann Brigitte, the Guédés embody the paradoxes of life and death. Each Baron has a unique personality: Baron Cimetière, Baron Kriminel, and Baron La Croix are the guardians of the souls that wander on the borders of the world of the dead. Together, they form a powerful and somewhat frightening presence, but one that is deeply rooted in Haitian culture. The Guédés are not like other voodoo spirits; they demonstrate their fearlessness in a spectacular way. Accustomed to death, they are fearless and are provocative: they eat glass, raw peppers, and coat their sensitive parts with rum and pepper. These gestures mark their indifference to danger and remind us that they have already known earthly life. They are thus psychopomps – these beings who lead the souls of the dead – and act as bridges between the world of the living and that of the dead. Some Guédés, like Guédé Nibo, wear black, purple, and white clothing, each with unique characteristics. They are many and varied: Guédé Fouillé, Guédé Loraj, Papa Guédé, and many others. These are the spirits who, each year, remind Haitians of the importance of remembering and honoring the deceased. The cult of the Guédés is not only religious; it is also cultural and historical. According to tradition, their spiritual territory, or “Fètomè” – nicknamed the “Country without Hats” – is a place where the souls of ancestors reside. According to stories, the origins of this cult go back to the Abomey plateau, the ancient capital of the kingdom of Dahomey, in Africa, where death and life coexist in a form of symbiosis. This celebration in Haïti even finds echoes in ancient history. The Romans also honored their dead with the “Fête des Lémuria”, which took place in February, to ward off spirits and restore peace between the world of the living and that of the deceased. For Haitians, honoring the Guédés is about accepting death as a part of life and celebrating the invisible bonds that unite us with those who have left us. It is also a way of resisting, because life, despite its challenges, must be celebrated in all its complexity and depth.

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Petit-Goave, Haiti: Decryption of the 3rd rara weekend!

It is more and more obvious that in Petit-Goave the media space is absorbed by the rivalry between Ratyèfè, triple champions and lambi gran lambi dlo, a former champion. The past weekend was once again irrefutable proof of the media tension over these two rival bands. With a carnival-like appearance, the fan club of the first dressed in a white shirt, short orange-yellow skirt, purple tie, black boot; the other dressed in a traditional hat, yellow jersey, red pants, red or yellow tennis shoes. This marriage of colors with the taste of carnival is the expression of cultural diversity as La Fontaine said in his book tales and short stories "diversity is my motto." This formula can adapt well to the rara. If it is true in Léogane this marriage of color has existed for ages. It is no less true that this was the case in Petit-Goave because we had to wait for the strong return of Ratyèfè in 2018 to see the rara fan clubs dress differently each new weekend. Last Saturday more than one expected a new face to face between Lambi gran dlo and Ratyèfè because the latter weighed anchor in the direction of the 2nd plain and the latter, in the direction of the city center. Less than in any other circumstance, this duel at the top was obvious. If for some comments it was a favorable opportunity for Lambi to take his revenge on his rival compared to the previous weekend because he had done the profile although he had the advantage because he was two against one. (Lambi,chenn tamarin vs Ratyèfè). This enormous advantage did not work in their favor because the hours that had passed worked against them, as proof they had gone to sleep while ratyèfè remained to play for at least 30 more rounds. Surprisingly but not surprisingly during the meeting long awaited by less than one, at the Acul not far from the Saint Jean-Baptiste church, lambi had decided not to play anymore. However, according to the customs and costumes of the rara when there are two bands, the one who stops playing first, shows weakness and surrender. Consequently, the other who is opposite out of decency and good morals has no other choice to do the same. It follows that for the umpteenth time the great power formation (lambi grand dlo) was unable to take revenge on its rival. For many cultural journalists who were present to witness this event did not have their tongue in their pocket to give their impression of Ratyèfè’s monster performance. This is the case for Brignol, a cultural commentary which wondered if Ratyèfè had the devil in his body so that the most incredulous were in their feeling of joy. On Sunday evening this monster of animation once again made its mark in the art of its know-how. This is what explains the almost unanimity among the cultural journalists of Petit-Goâve in granting first place to this band for its performance and its musical discipline. So, for this weekend according to the circle of cultural journalists of Petit-Goave and with the approval of many other cultural comments. We have the following classification: 1st Ratyèfè 2nd Grap Kenèp 3rd Orgueil de la jeunesse

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History

History

First black nation to free itself from slavery and gain independence from France in 1804 and influenced other liberation movements around the world, inspiring struggles for freedom and equality.

Natural beauty

Natural beauty

Haïti is blessed with spectacular natural landscapes, including white sand beaches, mountains and rich biodiversity.

Heritage

Heritage

Haïti has a rich historical heritage, including sites like the Citadelle Laferrière and the Sans-Souci Palace, listed as UNESCO World Heritage Sites.

Culture

Culture

Haïti has a rich and diverse culture, influenced by African, European and indigenous elements. Haitian music, dance, art and cuisine are celebrated around the world.

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