In Arabic, the family of words Amin, Iman or imam, imana designate faith, trust, security. This word is also present in the Swahili language (Kenya, Tanzania, East Congo Kinshasa) in the form imani: trust.
"The term Imana is not the equivalent of God-Goddess which is a Western vision of divinity. Indeed,: "the term "imana" does not designate above all a personal being that should be honored and implored, but a diffuse fluid that should be captured." In other words, Imana is a neutral vital force that manifests itself in the inner cosmos of each living being." ¹
Imana, by Michel Darlin Johancy is a musical, symphonic and spiritual journey through three geographies: an inner geography of meditation, a cultural identity journey and an artistic musical stroll. These three itineraries unfold in Haitian spaces.
This symphonic and spiritual journey takes place in 10 stages or 10 movements.
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The opening of the doors is commanded by the saxophone which plays the role of a common thread. The opening is slow as in some symphonies. This slowness allows us to gently enter an atmosphere of travel and reflection. Musically, the opening is based on the dialogue between the choir, the guitar/piano duo and jerky percussions, katap katap type.
“Si mòn pa bay, lavil ap peri”: if the hill does not produce, the city will perish”. The quest for the mountain is doubled by other quests: the search for effort (monte mòn), the return to the countryside, which must be revalued, and also the search for elevation of the spirit. It is like a pilgrimage. We can also lighten our multiple burdens or problems by depositing them on the other side of the mountain.
The saxophone introduces this sequence. We hear like the noise of a crowd marching and an incantation, a repetition, like a mantra of the name of the divinity Oloroun, from the Afro-Brazilian Yoruba pantheon.
"Creator of the World, you who trace all things, make the rain fall." It is a call for a nourishing and invigorating rain.
"Pase m t ap pase", this refrain, symbol of the journey, is punctuated by the percussions that play in cadence.
This interlude marks a well-paced pause of very diverse percussions, between katap and rabòday.
“Writing so as not to disappear, because the wind carries away the words” (Van pote pawòl ale) says Darlin Johancy. He continues: “Writing what we say and what we produce”. It is a call to protect, safeguard our creative heritage. And then above all, he affirms “mete sèl anba lan nou! Let’s put salt under our tongues! Because salt protects us from the zombification that threatens us”.
First the sound of water in dialogue with the saxophone playing in soft flame, "an alchemical marriage" Darlin Johancy tells us, between water and fire. The choir returns, voices, murmurs, whispers, with, in parallel, a "marriage" katap rabòday. "It is not a coldly programmed composition", Darlin Johancy tells us, all this music and this spiritual journey met inside me. I had to put all this in harmony. It also corresponded to a time when I myself needed harmony. I hope that it will have a calming effect and conducive to meditation in those who listen to Imana. "
https://on.soundcloud.com/vwhiN
Rafael Lucas, Lecturer, teacher-researcher, University of Bordeaux Montaigne
IMANA is produced thanks to the support of the Swiss Cooperation in Haiti. Music credits:
Natzart: Lead and choirs
Ery Guillaume: Saxophone
Herbysson Pierre: Bass
Schneider Saint fort: Drums
Drums: maestro Lélé
DarlinJohancy: Composition, arrangements, production, lyricist.
¹.https://www.kugaruka.org/post/imana-le-culte-de-kiranga-ryangombe-uburundi-urwanda
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Haiti, a land rich in history and cultural diversity, offers a unique musical treasure through its captivating rhythms. Haitian music, deeply rooted in the fusion of different African, European and Caribbean influences, constitutes a vibrant expression of national identity. One of the distinctive elements of Haitian music is its rhythmic diversity, reflecting the many facets of daily life, from religious celebrations to moments of joy and sorrow. Haitian rhythms, carrying contagious energy, are a reflection of the soul of the Haitian people. One of Haiti’s most iconic musical genres is direct compas, which emerged in the 1950s. This catchy rhythm, coupled with captivating melodies, has captured hearts globally. The direct compass embodies the fusion of different musical styles, including jazz, merengue, and elements of traditional Haitian music. Haitian musical traditions are not limited to contemporary sounds. Vodou, an ancestral spiritual practice, also has a major influence on Haitian music. Vodou rhythms, often associated with religious ceremonies, create a deep connection between spirituality and artistic expression. Furthermore, dance is inseparable from Haitian music. The graceful and energetic movements of traditional dances like rasin, combined with captivating rhythms, transport dancers and spectators to a world where bodily expression becomes a living art form. Exploring the musical and dance traditions of Haïti is like diving into a universe where history, culture and spirituality are harmoniously woven together. These rhythms, passed down from generation to generation, are much more than simple notes; they embody the soul of a people and the richness of its diversity. Celebrating these traditions pays homage to Haiti’s exceptional cultural heritage and its invaluable contribution to the global music scene.
In a country where daily difficulties can often seem insurmountable, Haitian youth need sources of inspiration to move forward. The LESPWA writing contest, initiated by Oriol ANTOINE, photographer and cultural activist, offers young people a unique opportunity to express themselves through words and share a message of encouragement and resilience.
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The impact of collective and individual trauma on the personal development of young people in Port-au-Prince While writers, actors, dancers, poets, among others, have gratified us with their performances, the master’s degree student in psychology at the Faculty of Human Sciences (FASCH), Lourdya Blaise, spoke with the audience about trauma. Structured around the theme "Youth and Trauma, analysis of the impact of collective and individual trauma on the personal development of young people living in Port-au-Prince between 2010-2024", this conference gave rise to enriching discussions. During this meeting, moderated by Michaël Formilus, Ms. Blaise showed how the events that have taken place in the country have caused cases of trauma among Haitians. According to the student, citing the American Psychological Association, we speak of trauma as a consequence of trauma. The latter is explained by the fact that we feel threatened, whether it is the person in question or their loved ones. However, she specifies that a collective trauma remains depending on the impact that the event has on the individual. To illustrate her remarks, she mentioned the earthquake of January 12, 2010, considered a collective trauma, insofar as it still occupies our minds. This tragedy reminds us of the disappearance of our loved ones and enormous losses. This is the case of a trauma that becomes a collective trauma. For the student, it should be emphasized that when an event occurs, some people are traumatized and others are not. According to him, the violence of armed gangs is not perceived in the same way, says Ms. Blaise. There are people who have fled their homes but are not traumatized. In fact, some people see traumatic situations as a passing event, she says. The speaker also spoke about collective trauma, which, according to him, preoccupies the mind, even if we no longer experience it. It manifests itself in several forms: lack of sleep, fear psychosis, intrusive thoughts, intense heartbeat, etc. Generally, symptoms related to trauma are hard to die. When it persists, it becomes acute stress. To deal with it, we must talk to other people. If the situation persists, acute stress turns into a phase of post-traumatic stress; in this case, we must confide in a trusted person or go see a mental health specialist, she advises. In her presentation, Lourdya Bazile also drew attention to the psychological state of children in these times. According to the presenter, children are also facing this crisis situation, even if they do not talk about it to their parents. As much as adults, children also plan their future. Faced with flouted school years, they become pensive and worried, she stressed. They withdraw. The child who used to be brilliant can become violent and perform less well at school. Parents are called upon to listen to them and understand them. A good moment of exchange, rich in practical advice. The audience participated fully. In turn, the presenter invites them to breathe better and meditate. "We live in a country where worries mix, we must take time for ourselves, do sports, eat well, make sure that the sleeping space is clean and take time for ourselves. There is more than one way to find calm," recalls the psychologist. Gertrude Jean-Louis
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On Saturday, June 7, 2025, from 8:00 a.m. to 1:00 p.m., all teenagers are invited to take part in a major Recreational Day under the theme: "Live Our Day, Live Our Rights". The event, organized by REVIV, one of the ministries within the Rendez-Vous Christ Church, will take place at Kiskeya Chapel in Delmas 75, with departure scheduled from RVC. It is important to note that REVIV is the ministry dedicated to teenagers aged 13 to 19 within RVC.
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.
Haïti is blessed with spectacular natural landscapes, including white sand beaches, mountains and rich biodiversity.
Haïti has a rich historical heritage, including sites like the Citadelle Laferrière and the Sans-Souci Palace, listed as UNESCO World Heritage Sites.
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.
