Roof-bar

The Bèlè is the name which baptizes a Danse and a Musique inherited the ancestors who lived in the negro streets boxes with the accesses of the Plantation S inhabitants of Martinique.

Description

At the beginning, the roof-bar is only a Chant, but by extension, it will indicate the unit Chant/Ti-Bwa/Tambour . The roof-bar , also called Beautiful air according to the Francization of the creole word, is a Musical genre in which a singer carries out the music with a voice which carries, whereas the dialog between the dancers and the player of drum develops. The drum is accompanied by a rate/rhythm Ti-bwa given by two rods exploited the back part of this last.

The roof-bar is a whole of step and figures resulting from the Africa, squares and of the high size from Europe. They draw their sources in:

religions,
African slaves, the mannyè viv of the the Indian Caribbean,
Christianity and philosophical currents introduced by the European ones, the Hindouisme brought by the Indian ,
the lived daily one of the people inhabitant of Martinique.

The dances which characterize it are multiple, one can distinguish:

the roof-bar , dance more the appraisal at the time of swaré the roof-bar and used to express various aspects of the life with various nuances (roof-bar cho, roof-bar dous, roof-bar pitché) determined by the song.
the gran roof-bar , dance of the fruitfulness of the ground, with often of the songs melancholic persons or dramatic.
the bélia , which translates the advertisement of a news or a recall with the gathering.
the bouwo , simple in gesture and choreography but more rarely carried out because of time than it requires.
the dances the lin' klé , which were practiced mainly with the moonlight, translate for the cultural and religious practices slaves. One finds there the kalenda , the mabélo , the bénézwel , the ting-bang , the kanigwé , the woulé-mango . Traditional dances of Martinique, they express the joy, anger, the pain.

Music

It is organized in a certain way, initially the entry of the singer ( lavwa ), Heart ( lavwa dèyè ), Ti-bwa, the drum roof-bar and the dancers.

The dancer

He has a very great freedom in the choice of gestural and the play which will develop between partners. But it must obey an absolute requirement: to be with the sound (in time). The good dancer is that which will be able to marry the gesture and the play while being with the sound of the drum.

In spite of the denigration, the roof-bar knew to resist the time proof and is affirmed more and more like an element impossible to circumvent of the identity inhabitant of Martinique. Concealing great richnesses and great potentialities for Community and individual blooming, to practice the roof-bar teaches patience, the rigor, the expression, solidarity, the knowledge and the transmission of the cultural heritage inhabitant of Martinique.

Masters of the Roof-bar

The 2 large Masters of the Roof-bar are incontestably, Ti Emile (Emile Casérus) and Ti Raoul (Raoul Grivalliers).

Here a nonexhaustive list of the great figures of the Roof-bar: Felix Casérus, Dulténor Casérus, Vava Grivalliers, Berthé Grivalliers, Clothaire Grivalliers, Féfé Marolany, Paul Rastocle, Benoit Rastocle, Rastocle Carmelite nun, Vallade Apollo, Felix Cébarec, Génius Cébarec say Galfètè, Stephan Cébarec, Boniface Cébarec, Victoire Saint-Angel, Robert Dessart, Cimeline Rangon, Espélisane Holy-Rose, Dartagnan Laport.

New generation: Eugene Mona, the AM4, Sosso and the group Wapa, Edmond Mondésir and his group Bèlènou, Victor Treffe, XTremjam, Roof-bar Boumbap de Kali, Lassao, Sully Cally, beautiful Vwa danm, Lébéloka and Bélya.

Discography

Masters Of the Roof-bar of Sainte-Marie ; Masters Of the Roof-bar; Buda Music 2007.

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