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Coupé Cloué, the king of Haitian music.
Coupé Cloué, the king of Haitian music.
Coupé Cloué, the king of Haitian music.

Coupé Cloué, the king of Haitian music.

Coupé Cloué, whose real name is Jean Gesner Henry, is a genius of Haitian music, both singer and musician, his mark in the musical pantheon of Haïti is alongside the most prestigious names, such as Nemours Jean-Baptiste, Robert Sico et al.

The first steps of the legend

The King Coupe was born in Léogâne (in the city of Anacaona), on May 4, 1925, he died on January 29, 1998 in Port-au-Prince. Twenty-five years after his death, his music remains among the most consumed by Haitians living in Haïti and those of the Haitian diaspora.

In some African countries, it is quite common to listen to his music in nightclubs even today. He is considered by Haitian music lovers, and many compas fans around the world, as one of the emblematic figures of Haitian music, for his great contribution to the direct compas musical genre.

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The beginnings of King Coupé in music.

Coupé Cloué began his musical career in the 1950s and quickly became one of the most popular artists in Haiti. His music skillfully blended elements of compass, voodoo and Haitian folklore, infiltrating the Haitian being in its most intimate aspects, creating a unique style highly appreciated by the Haitian public and elsewhere.

The King Coupe discography.

Over the years, Coupé Cloué has recorded numerous successful albums and has been praised for his lyrics and his commitment to Haitian culture. Songs like "myanm myanm", "Yeye", "Djo ak ti Djo".. have marked the memory of Haïti and the French West Indies. Making the legendary voice of King Coupé an important part of Caribbean music.

Furthermore, his fabulous side allowed him to be one of the few to be able to address themes such as politics, sexuality and Haitian traditions in his songs, in the midst of a dictatorship. He lived through the entire Duvaliers dictatorship, without having been censored by the regime.

Coupé Cloué the timeless

The Haitian who has not yet listened to a song by this legend of Haitian music has not yet seen the light of day. His powerful voice is one of the rare symbols that runs through Haitian society in its entirety, and on which almost everyone has consensus. His music is traced with a timeless accent, and resonates with the same effectiveness in the ear of the child, the young, and in the heart of the old Haitian. His music has the ability to take the shape of the listener. His polysemous words are accessible to all and are welcomed according to the maturity of his listener.
Coupé Cloué is also known for his ability to ignite crowds with his powerful and expressive voice. He is an entertainer at heart, his performances on stage were always very appreciated by the public, who admired his talent and charisma.

Despite his death in 1998, Coupé Cloué remains an essential figure in Haitian music and his musical legacy continues to influence many contemporary Haitian artists. His timeless songs and his commitment to Haitian culture have made him a music icon for his country in the same way that Bob Marley was for Jamaica. Even today, his voice is recognized as a powerful symbol of national pride for the Haitian people in all their diversity.
The legendary name of Coupé Cloué will remain engraved in gold letters, among the most worthy Haitians of all time.

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About the Author
Moise Francois
Moise Francois
Moise Francois

Journalist editor, poet and apprentice lawyer.

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Pity or the work of an old soul crushed under the weight of an absinthe-flavored existence

The word crisis carries an infinite number of meanings. No intention of revealing them all this afternoon. However, a few clarifications are necessary. A kid whose parents do not have enough money at Christmas to buy her a Little Black Mermaid doll has a fit and locks herself in her room without touching her meals for the day. A boy whose dog was suddenly poisoned by a neighbor in revenge or shot after contracting rabies, losing a faithful friend overnight, enters into crisis. Finally, a society in the grip of all sorts of mutations and whose leaders are weak, perhaps prolonged in a deep crisis. In the first case, the young girl sulks to attract the attention of her parents in order to feel appreciated by children her age at school or in the neighborhood. Today, thirty minutes of negotiations can be enough to find a lasting solution. In my day, a few well-aimed belt blows would have overcome this whim. But, humanity evolves, they say. In the second case, this boy can find his smile again after a few weeks. He needs a little attention and, probably, another dog. As Stendhal would say, only passion triumphs over passion. In the last case, this society led by inepts is shaken to its deep foundations. Its institutions can disintegrate one by one. The vital forces dissolve in no time. This situation creates a societal tsunami that destroys all life within this community. It is indeed a crisis. The crisis from this point of view constitutes an alarming, desperate situation in the existence of a community where nothing is going well. Chaos reigns supreme. The very essence of life disappears. The individual can take precedence over the community. Everyone tries to solve their problems without worrying about others. The closest neighbor is relegated light years away from you. How can we turn to creation? How can we continue to conceive of otherness? How can the artist absorb this great collective disarray as a source of motivation? These are the questions I must answer. An artist sees and feels what ordinary mortals cannot even imagine in a thousand-year life. He creates to denounce, when his conscience as a human being is revolted. He exalts heroes or the homeland according to his feelings. He sings the beauty of an irresistible, captivating or ugly resplendent woman. He can also use the ambient desolation to give meaning to life. Creating in literature as in the arts in general does not depend on the situation. The act of creation depends on the creator’s disposition. Events paralyze some and galvanize others. Creating is enjoyable. Everyone therefore enjoys according to their own whim. Writing opens the way to change. The writer takes a different look at the world. By embedding himself in reality, he embellishes it, makes it better or hideous depending on the message he intends to share. All things considered, with him, life is never fixed. Writing is putting the world in a jar to travel the universe. The artist broods over his work in all weathers. Oswald Durand was delighted to see Choucoune’s beautiful body from his secret observatory. Musset, on the other hand, was in pain writing his October night. As for Dany Laferrière, in exile, he described the horrors of the Duvalier dictatorship and the carefree attitude of the young girls in his neighborhood in this violent and dangerous world. Ultimately, the writer lives in a society with values ​​that he shares or not. They condition his existence or have no hold on him. In many ways, the surrounding world serves as his laboratory. He carries out his experiments there. He casts a new, worn, disillusioned, melancholic, violent, bitter look at the world depending on his mood. Pitié is the work of an old soul crushed under the weight of an existence that tastes of absinthe. Young Mike Bernard Michel lives by expedients and lies. The hands of life fall on him with indescribable violence. Misfortune embraces him day and night. Should we give up? Musset liked to say: "Man is an apprentice, pain is his master. And no one knows himself until he has suffered." The artist must produce under all skies. Such is his vocation. Incompetents in power, legal or highway bandits, the high cost of living, unemployment, heartaches are all subjects of concern for him. If it is true that a hungry belly has no ears, the fact remains that it keeps the brain awake. What am I saying, it stimulates it to the point of creating timeless works. Mr. Pitié, you have a bright future ahead of you. Work of Jean Rony Charles, the book is available from Éditions Repérage.

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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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