Gwoka
I - The gwoka, a Guadeloupean story
Gwoka occupies a special place among the musics that make up Guadeloupe's cultural identity. An expression of the slaves' resistance, gwoka has its roots in the heart of the plantations. Its evolution has been linked to the different cane-growing areas of Guadeloupe. The term "gwoka" refers to both :
- the musical instrument
- the music
- the dance
- the songs
A - The instrument
A traditional drum in the percussion family, the gwoka, also known as the "ka" or "tambour-ka", is made from a goatskin and a barrel, joined together by iron hoops. The ka is made of wood, originally salvaged from the barrels used to transport certain imported products. The ka measures 55 cm, a quarter of the size of a salting barrel. Once the wood has been shaped, it is covered with a goatskin (female, for a "makè" drum, with a higher-pitched sound; male, for a "boula", with a lower-pitched sound). The goatskin is held in place by a rope system to which 'keys' are added. There are usually six of these small pieces of wood to achieve the desired sound.
B - Music
Gwoka music is structured around seven basic rhythms (graj, léwòz, kaladja, toumblak, woulé, mendé, padjanbèl), each of which conveys a particular feeling. Although other combinations are possible, gwoka is generally played with three drums: two "boulas" and one "makè". Instruments such as the chacha and the lambi conch shell are also associated with traditional gwoka. In its modern version, the gwoka cohabits with the guitar, the piano, the saxophone, the flute, the trumpet... depending on inspiration. The gwoka is based on a triptych: the singer, the soloist ("makè") and the chorus or "répondè". The word "répondè" refers to the chorus of singers, in which the musicians and audience take part. They give the lead to the singer.
C - Dance
Based on the rhythms of the gwoka, dance can be sensual, festive, invigorating... The codes that govern it are taught in Guadeloupe by numerous schools, dance companies and other associations: Akademiduka, Sòlbôkô, the Centre de danse et d'études chorégraphiques Léna Blou, Kamodjaka, Kabwa, Sa ki taw, Djòk, Indestwas-ka... Thanks to the work of committed dancers and choreographers, courses are given in mainland France (notably by Chantal Loïal's Difé kako and Max Diakok's Boukousou) and elsewhere. The creator of techni'ka, a method inspired by the gwoka, Léna Blou, dancer, choreographer, researcher and member of the Comité International de la Danse, travels the Caribbean and the rest of the world (Europe, the United States, Africa, South America...) to teach gwoka and techni'ka in particular.
D - Songs
Born during slavery, gwoka was first and foremost a music of resistance that enabled slaves to communicate with each other. Intimately linked to the rural environment, the drum-ka remained for a time the means of informing one another of deaths, appeals for solidarity ("koudmen")... Originally, the themes addressed in the gwoka were linked to the social situation in Guadeloupe, the difficulties of working in the fields, historical events, but also love, relationships between men and women, the festive spirit... Texts by Robert Loyson, Sergius Geoffroy, Ti-Céleste, Chaben and Kristèn Aigle are among the gwoka classics.
Often considered a traditional music, gwoka continues to evolve and be enriched by the contribution of other influences that it feeds in return. This rich, evolving music, an expression of Guadeloupe's identity, was included in UNESCO's intangible cultural heritage on 26 November 2014.
To find out more, click here: Gwoka from A to Zby Cécilia Larney, published by Caraïbéditions (November 2018).
II - The gwoka: one music, seven rhythms
A veritable musical treasure trove of Guadeloupean heritage, gwoka is unique in that it is driven by seven fundamental rhythms, like so many modes of expression.
Graj : Traditionally, it is used to help with day-to-day work in the fields and domestic chores, such as making cassava flour...
Kaladja : Characterised by its slow rhythm, 'kaladja' expresses sadness, grief, pain and love.
Léwòz : It expresses struggle and the warrior spirit. Marked by a "reprise", this rhythm has also given its name to the traditional evenings that go on until dawn to the sound of the drum (See The words of the gwoka).
Mendé : A very energetic rhythm to illustrate the festivities, the joy...
Padjanbèl : A lively rhythm that evokes grace and feminine presence...
Toumblak : This invigorating rhythm is synonymous with celebration, love and passion. There is also a faster version called "toumblak chiré".
Woulé : Like "graj", it is associated with hard, repetitive work.
To find out more, click here: Gwoka from A to Zby Cécilia Larney, published by Caraïbéditions (November 2018).
III - The words of the gwoka
A few terms will give you a better understanding of the gwoka culture, its codes and its evolution...
Bigidi : This Creole word, which means "imbalance", "wobble", "stagger", refers to the posture of the gwoka dancer who wobbles, but does not fall! It's a concept that Guadeloupean dancer and choreographer Léna Blou studied for many years, culminating in the creation of the techni'ka (see elsewhere, Gwoka, a Guadeloupean story. The dance).
Boulagèl : This highly prized gwoka singing technique is not for everyone. With "boulagèl", formerly known as "banjogita", throat sounds and onomatopoeia replace musical instruments. Produced by the singer, this vocal rhythm is accompanied by the clapping of the hands of the "répondè".
Kenzèn : On the homesteads, the cane cutters were paid by the fortnight, "kenzèn" in Creole. This sum, which they received every fortnight, was the occasion for a convivial gathering to the sound of drums, to drink, eat and dance. This was the starting point for the famous "swaré léwòz".
Léwòz : One of the seven rhythms of the gwoka (Read Gwoka: one music, seven rhythms). More generally, the word "léwòz" refers to a festive evening of free drumming. According to the purists, the seven rhythms of the gwoka must be performed. Traditionally held at the weekend, the "léwòz" went on until dawn. Brought back into fashion in recent years in Guadeloupe, the "swaré léwòz" has given rise to a number of different variations. In a léwòz, the audience is seated in a semi-circle facing the tanbouyé and the singer. The space in the centre of the circle, called the "lawonn léwòz", is reserved for the dancers. Respecting the codes is important.
Rèpriz : Pause, punctuation marked by the dancer, the "makè", the dancer, at each change of cycle. This term has given its name to the Centre régional des musiques et danses traditionnelles et populaires de Guadeloupe. Based in Pointe-à-Pitre, Rèpriz works to safeguard Guadeloupe's intangible cultural heritage.
Tanbouyé(z) Musician who plays the tambour-ka. In recent years, as women have become more involved in playing the instrument (in addition to singing, dancing, backing vocals and light percussion), the words "tanbouyèz" and "makèz" have come into use.
See also "makè", "boula", "répondè" in Gwoka, a Guadeloupean story. The music.
To find out more, click here: Gwoka from A to Zby Cécilia Larney, published by Caraïbéditions (November 2018).
IV - The gwoka at Unesco
Since 26 November 2014, the gwoka has been listed as an intangible cultural heritage by Unesco. The recognition of the gwoka as an essential part of Guadeloupe's identity is the happy epilogue to the tireless efforts of Félix Cotellon. A lawyer by profession, he is committed to preserving and promoting the traditional music of Guadeloupe, and was behind the creation of the Sainte-Anne gwoka festival (Gwoka Sentann). He has also rallied the Rèpriz centre around him (see The words of the gwoka), cultural activists, the Lyannaj pou gwoka committee, researchers... Today, there are a number of signs that Guadeloupeans are reclaiming the gwoka. Thanks to the work undertaken by the many cultural associations, music and dance schools (Read Gwoka, a Guadeloupean story) and cultural activists in the archipelago's communes, a real transmission is now possible.
A - A site
In Petit-Canal, on the Duval site, Fondal-ka, the international ka village, highlights the ka and drums of the South. Since 2012, at the initiative of the International Committee of Black Peoples (CIPN), the site has featured totem poles bearing the effigies of the ka masters (See also Passing on tradition) and those who have dedicated their lives to the gwoka: Chaben, Robert Loyson, Man Soso, Louise Bernis, Guy Conquet, Vélo...
Another testament to his contribution to the gwoka is the statue erected in 1984 in tribute to Vélo (Marcel Lollia, to use his civil status), in Pointe-à-Pitre. In the rue piétonne (at the corner of rue Saint-John-Perse and rue Schœlcher), his favourite spot, cultural activists perpetuate the tradition of the "kout tanbou". Similarly, on the weekend of 5 June, the Akiyo cultural movement, of which Vélo was a member, commemorates the anniversary of his death in 1984.
B - An appointment
Gwoka Sentann, the gwoka festival, has been celebrating gwoka and traditional music in Sainte-Anne every July since 1987. For a week, singers, musicians, dancers and researchers come together for concerts, debates, "léwòz" and other events, including those for young audiences.
To find out more, click here: Gwoka from A to Zby Cécilia Larney, published by Caraïbéditions (November 2018.
V - Gwoka: the transmitters of tradition
Rooted in oral tradition, the practice of gwoka has often been passed down within the family circle. The Geoffroy brothers of the Kan'nida continue to follow in the footsteps of their parents. The Grands-Fonds/Sainte-Anne area is renowned for its "boulagèl", its authentic "swaré léwòz", its musicals... Léwoz" organiser, Jabrun/Baie-Mahault, Man Soso (Athénaïse Solange Bac) has enabled her son, Guy ConquetThis is a culture that has been passed down from generation to generation. Another filial transmission, in Gosier between Simone Jacquesa léwòz singer, and her daughter Josélita. In Baillif, Guy Rospartknown as Kaya, was the guide for his nephew, Pierre-Jean, known as "Baby Rospartfounder of the Solbôkô music school.
Alongside the "tanbouyé" families, there are many others who have passed on their passion for the gwoka to subsequent generations. Gaston Germain Calixte, known as Chaben, Robert LoysonMarcel Lollia, says Bike, Henri Delos, Kristèn AigleFrançois Moléon Jernidier, known as Carnot, Lin Canfin, Aksidan, Napoléon Magloire, Antoine SoptaWilfrid Aurélien Céleste, Ti-CélesteDurville Monza, says Vivilo...
Over the generations, singers, dancers and musicians have applied themselves, according to their area of expertise, to enhancing the gwoka culture they have inherited, thus perpetuating the tradition. Some, with strict respect for tradition (Yvon Anzala, Esnard Boisdur, Fritz Naffer, Jean-Claude Antoinette, Evelyne Zénon, Erick Cosaque, François Ladrezeau, Rosan Monza, K'Koustik, 7son@to... and others by developing it further (Edouard Ignol, known as Kafé, Gérard Lockel, Christian Laviso, Robert Oumaou, Georges Troupéamong others).
Leaders in the structured teaching of gwoka music and dance, Yves Thôletanbouyé, master-ka, leader of Konvwaka, and Jacqueline Cachemire-ThôleThe two women, a retired teacher and dancer, founded L'Akademiduka in 1986 in Pointe-à-Pitre (See also, The gwoka, a Guadeloupean story).
To find out more, click here: Gwoka from A to Zby Cécilia Larney, published by Caraïbéditions (November 2018).
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