On any given night, a Haitian singer somewhere is transforming a crowded dance floor into a courting session, cajoling fans of konpa to move to an easygoing beat.
But for one day during Haitian Heritage Cultural Month in May, at a downtown Miami park, the horns and keyboards blare louder than usual, the beat speeds up and the home-grown soundtrack that has helped defined a nation becomes one big-band dance party.
“It’s like a big old family reunion,” said Ernst Dominique Deant, 41, a Plantation resident and die-hard konpa music fanatic who has been attending the annual festivities with friends for more than a decade.
Welcome to the Haitian Compas Festival, the biggest gathering of Haitian music fans in South Florida – and perhaps outside of Haiti.
This Saturday, the annual festival that began on Virginia Beach and ranked among the “Best in Live Entertainment” events by Billboard Magazine in 2003, celebrates its15th edition with 10 bands and four DJs at Bayfront Park Amphitheatre, 301 Biscayne Blvd.
Over the years, the crowd has become as diversified as the music as organizers Rodney Noel and Jean-Michel Cerenord seek to showcase with their inclusion of non-traditional konpa bands in the annual lineup.
“We want to show that we don’t just play konpa, but we also play different types of music,” said Noel. “We do this to add a different flavor.”
And while Saturday’s festival will include traditional crowd pleasers like Carimi, Djakout #1 and NuLook, some new faces will be adding a different kind of flavor to the mix. They include Haiti Carnival crowd favorite Ambiance out of the northern Haitian city of Cap-Haitien, and banned carnival band Brothers Posse, whose music is a return to the old school rap and raga that a lot of young Haitians enjoy.
Brothers Posse founder and singer Don Kato made international headlines earlier this year when Haiti’s government-sponsored carnival committee refused to invite him to participate in its pre-Lenten bacchanal because his song, Aloral, criticized President Michel Martelly and his government as being “all about talk.”
“It’s been awhile since I’ve performed in Miami and I think the fans are ready to hear from me,” said Kato, whose lyrics have become part of the political and social discourse in Haiti, propelling his popularity further. “We have to bring the diaspore into the conversation about the conditions of the country.”
But politics aside, the festival is also about showing the versatility of Haitian music. And that’s exactly what world music songstress Emeline Michel, says she hopes to do with her performance that will feature a little bit of drums, some folkloric beats and lots of drums.
“I am representing that other segment of Haitian music,’’ Michel said with a laughing.
This is Michel’s third trip to South Florida in recent months. She recently headlined Big Night in Little Haiti, and debut her much-anticipated CD, Quintessence, at Moca Café and Lounge in North Miami, which Noel and Cerenord co-own.
While hits such as Pa Gen Manti Nan Sa (There is no Lie in this) borrow from traditional konpa beats, Michel is better known for merging traditional Haitian rhythms with other worldly beats to create a sound pulsating enough to have 10,000 Japanese music fans jumping to their feet, as was recently the case.