Music of Guadeloupe
| Music of Guadeloupe | |
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| General topics | |
| Related articles | |
| Genres | |
| Nationalistic and patriotic songs | |
| National anthem | La MarseillaiseChanté a lendependens |
| Regional music | |
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The music of Guadeloupe encompasses a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Guadeloupe and Martinique. Zouk's origins are in the folk music of Guadeloupe and Martinique, especially Guadeloupan gwo ka and Martinican chouval bwa, and the pan-Caribbean calypso tradition.
Carnival is a very important festival in Guadeloupe and Martinique. Music plays a vital role, with Guadeloupean gwo ka ensembles, zouk music and guadeloupean big bands marching across the island, and travelling and performing music known as C (or just videé) in a manner akin to Brazilian samba schools. Carnival in both islands declined following World War II, bouncing back with new band formats and new traditions only in the 1980s. Both islands feature participatory, call-and-response style songs during their Carnival celebrations.
Biguine vidé is an up tempo version of the biguine rhythm, combining other carnival elements. It is participatory music, with the bandleader singing a verse and the audience responding. It allows one to grab an improvised percussion instrument and join in. Traditionally, Carnival includes dances of African origin, including laghia, haut-taille, grage, calinda and bel-air. Traditional instruments include the chacha, tibwa, maké, boula, tanbou chan and tanbou bas drums. Aside from the biguine vidé bands, Vaval includes song and costume contests, masquerading and zouk parties.
Gwo ka is a family of hand drums used to create a form of folk music from Guadeloupe. There are seven basic rhythms in gwo ka, and multiple variations on each. Different sizes of drums establish the foundation and its flourishes, with the largest, the boula, playing the central rhythm and the smaller, markeur (or maké) drums embellishes upon it and interplays with the dancers, audience or singer. Gwo ka singing is usually guttural, nasal and rough, though it can also be bright and smooth, and is accompanied by uplifting and complex harmonies and melodies.
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