Compas: More Than Just a Musical Genre, a Strong Marker of Haitian Identity

Numerous activities were organized this Saturday, July 26, to celebrate the 70th anniversary of the creation of compas direct, Haiti's national rhythm. Tribute nights, debate-conferences on various themes, and honor plaque presentations in Haiti, Canada, and the United States: the celebrations were numerous and symbolic. The highlight of this commemoration was a mega concert at Place Boyer, also marking the relaunch of the initiative to have compas inscribed on UNESCO's intangible cultural heritage list. 70 Years of History and Rhythm July 26, 2025, marked the 70th anniversary of the birth of compas direct, the musical genre invented by Nemours Jean-Baptiste in 1955. For many, compas is not simply entertainment music: it is a tool for identity construction, cultural resistance, and a musical language for dialogue with the world, in a context of globalization of artistic expressions. A Rich Program for a National and Diasporic Celebration Numerous activities marked this celebration. In Haiti, Canada, and the United States, debate-conferences, tribute nights, and artistic performances brought together music lovers and professionals from the music industry. On Saturday, July 26, Place Boyer in Pétion-Ville was transformed into a true sanctuary of Haitian music, at the initiative of the Ministries of Tourism and Culture, in collaboration with the Handz group. Thousands of fans gathered in an atmosphere of emotion, nostalgia, and pride, to the rhythm of a unifying music. On Sunday, July 27, a tribute evening to Nemours Jean-Baptiste was held in a Pétion-Ville hotel. Several artists and musical groups paid homage to the pioneer of compas, and an honor plaque was posthumously awarded to him. Historical Reminder It was at Place Sainte-Anne in Port-au-Prince that Nemours Jean-Baptiste first introduced this new sound. He had no doubt: the public would dance. And he was right. Compas Direct was born. In the 1970s, this movement exploded. Dozens of groups emerged, some ephemeral, others becoming historical. Nemours trained young people, opened the stage to them, sometimes at the cost of conflicts. All, however, contributed to keeping the rhythm alive and evolving. Compas is now at the heart of Haiti's intangible cultural heritage. It constitutes an authentic expression of Haitian identity, deeply rooted in the history, social practices, and listening habits of the people. According to Dauphin (2014), compas refers to a particular style of méringue that illustrates a concrete dimension of Haitian cultural typology. More than a musical genre, it is a strong marker of our collective identity. Towards International Recognition of Compas Already inscribed since 2019 on Haiti's national register of intangible cultural heritage, compas is now undergoing a process of global recognition. On March 26, 2024, the Haitian State, through its permanent delegation to UNESCO, officially submitted compas's candidacy for its inscription on the Representative List of the Intangible Cultural Heritage of Humanity. However, this emblematic music suffers from a glaring lack of public support. In the absence of coherent cultural policies, compas is weakened, facing a massive invasion of foreign music on the Haitian market, in a context of ineffective regulation by the relevant institutions, particularly the Ministry of Culture and Communication. Even today, there is no museum, library, or national archives dedicated to preserving the history of compas. It is therefore urgent to act to protect, promote, and renew this living heritage, a pillar of our collective memory and a symbol of our cultural sovereignty. Evolution and Diversity of Compas According to Jean-Pierre, in the 1960s, compas music went through four major phases:
1. Nemours Jean-Baptiste's compas direct,
2. Webert Sicot's cadence rampas,
3. The emergence of mini-jazz with groups like Shleu-Shleu,
4. The evolution of mini-jazz with groups like Les Fantaisistes de Carrefour and Les Ambassadeurs. Alongside traditional compas, several derived styles have enriched this musical genre:
• Compas Manba (Coupé Cloué),
• Compas Kè Kal (Bossa Combo), • Compas Matchavèl (Système Band), • Compas Hounsi (Tropicana). Also worth mentioning is siwèl, a rhythm of cane cutters returning from Cuba, played with guitar or banjo, maracas (or tchatcha), manoumba, wooden box, accordion, flute, and cymbal (Hancy, 2024). By Gédéon Delva