Gwo ka

Mon, 01 Jan 0001 00:00:00 +0000

History#

The Gwo Ka musical practice emerged in the 17th century during the transatlantic slave trade, as a result of a creolization process: adaptation to surrounding context and assimilation of European cultural elements. African slaves of Guadeloupe used to gather to play drums, sing and dance. The use of any kind of drum was at that time forbidden by the Code Noir. As a consequence, slaves used a vocal technique called bouladjèl, which imitates drums. At that time, Gwoka practice was directly linked to agricultural work, especially sugar cane, coffee and banana cultivation. Post 1946, along with anti-assimilation and anti-colonialism movements, Gwoka spread throughout the island, which marks the beginning of its rehabilitation process. As a consequence, in 1988, lawyer and nationalist activist Félix Cotellon created the Festival de Gwoka Sentann in the city of Sainte-Anne without the support of the municipality. Studies and symposiums were held on the occasion. In 1981, local musician Gérard Lockel published the Traité de Gwoka modên, the first attempt to formalize this musical genre. He claimed that Gwoka was atonal, breaching with western conventions and tastes. By affirming the modality of Gwoka, he situated this music style within the realm of African musical traditions. Paradoxically, under Lockel’s leadership, Gwoka was transformed from a participatory music played outdoors to a presentational music played on stage with European and North American instruments. Musical research show that the instrument can find its roots in the drums and songs of the West African countries (Guinea gulf, Congo…). From the diverse music and dance of their homelands, the slaves elaborated a communication tool, a new form of art, like the creole language: the Gwo Ka. This musical genre is characterised by an African typology: - repetitive form - improvisation - physical movements linked to music - a response between a soloist and choir - a syncopation weak times

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Gwo ka

History#