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IMANA by DarlinJohancy
IMANA by DarlinJohancy
IMANA by DarlinJohancy

IMANA by DarlinJohancy

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.

Read the article in :

French : IMANA de DarlinJohancy

Spanish : IMANA de DarlinJohancy

Creole : IMANA pa DarlinJohancy

Reference page : IMANA by DarlinJohancy

Other version : IMANA de DarlinJohancy

1- Ouvè pòt yo: the opening of the doors ::

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.

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2- Chache limyè, chache chimen mòn: the quest for light and the path of the mountain:

“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.

3- Incantation and crowd noise.

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.

4- Èske Bondye pale kreyòl? Does God speak Creole?
While the saxophone and katap percussions draw the path like a musical vèvè (ritual drawing), the artist wonders. Can worship be creolized? Drums and tchatchas have their place wherever the soul rises. They also punctuate our cultural identity.

5-Kote m ye? Where am I?
-

6-Call the rain

"Creator of the World, you who trace all things, make the rain fall." It is a call for a nourishing and invigorating rain.

7-Pase m t ap pase: I was only passing by.

"Pase m t ap pase", this refrain, symbol of the journey, is punctuated by the percussions that play in cadence.

8-Second instrumental interlude

This interlude marks a well-paced pause of very diverse percussions, between katap and rabòday.

9-Ekri pou nou pa disparèt: writing so as not to disappear

“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”.

10-The alchemy of creation

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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