“Dekolonizasyon” concert: Haitian drummer Youry Vixamar electrifies with Vodou rhythms

By Magdala Louis
PORT-AU-PRINCE — On Friday, Jan. 24, the Institut Français en Haïti (IFH) pulsed with the rhythmic beats of Youry Vixamar’s long-awaited concert. More than three years after releasing his album “Dekolonizasyon” in 2021, Vixamar finally took the stage, guiding fans through his journey from Christianity to Vodou. The performance, filled with powerful drumming, dance, and storytelling, was more than a concert—it was a celebration of Haitian culture, spirituality, and identity.

Despite forecasts predicting heavy rain, a large and determined crowd gathered at IFH in Bois-Verna, Port-au-Prince. Generations of fans came together, unwilling to let the weather dampen the long-anticipated event. Their unwavering presence underscored both their deep connection to Vixamar’s music and their commitment to celebrating Haiti’s rich cultural heritage.

Released in September 2021, “Dekolonizasyon” features 11 tracks that fuse traditional Vodou rhythms with contemporary influences. The album includes collaborations with acclaimed artists like Fabienne Denis, Misty Jean, and Riva Nyri Précil. At its core, “Dekolonizasyon” is a reclamation of Haitian Vodou culture, often misunderstood or misrepresented. Its standout track, “Gran Bwa,” gained international recognition when it was performed at the Cannes Film Festival in 2023 as part of the Haitian film “Freda,” directed by Gessica Généus.

To introduce the show, Vixamar and the dancers threw water and rum to greet the loas— a term used to describe Vodou spirits. This ritual, required symbolically by the religion’s tradition, added a spiritual dimension to the musical performance. The dancers’ graceful, synchronized movements to the sound of “Èzili” or “Erzulie,” often used interchangeably in Creole and French, captivated the crowd with the enchanting voice of Haitian singer Riva Nyri Précil. This music calls forth the presence of Erzulie Freda, the goddess of love, to emerge from the troubled waters. In that moment, the bond between the artists and the audience deepened, nurturing a symbiosis of unique artistic expression experience.

After Ézili, Vixamar utilized “Gran Bwa” to keep the audience engaged and uphold the mystical and ancestral elements of the performance. The powerful rhythms of the drums and the dancers’ choreography transport the audience on a spiritual journey through sacred, yet imaginary, woods. Vixamar’s music captures both the majesty and protection of the forest while emphasizing the importance of preserving nature within Haitian traditions.

Beyond its musical aspect, “Gran Bwa” is a true lesson in history and culture. Vixamar, 45, discusses how colonizers attempted to eradicate Vodou’s beliefs and practices. He explains how these traditions survived and evolved, becoming a cornerstone of Haitian identity. He emphasizes the resilience and determination of the Haitian people to preserve their roots despite oppression.

Vixamar didn’t always have this Vodou sensibility. He grew up in a Christian family and attended a Catholic school. For him, the Dekolonizasyon album is a tale of personal experience. Through his drums’ songs and rhythm, he takes people on a journey where he has rediscovered himself with new beliefs. 

“Dekolonizasyon is my personal experience, my own evolution,” he told The Haitian Times in a post-show interview. “At some point, I told myself that I wanted to get to know myself through myself. And I realized that our culture has a lot to teach us.”

“When I discovered the drum as a musical instrument,” Vixamar said confidently, “I told myself I had to put aside everything I knew. It’s not that they’re bad, but I told myself I had to make space for this new formation I was offering myself.” 

Vixamar describes his journey toward decolonizing his mind as he discovers the culture and ancestral traditions he missed in school, realizing that this revelation opens up a new perspective on the world. 

“For me, Vodou serves as the key to understanding agronomy, astronomy, art, love, and much more,” the artist said. 

Despite uncovering all these insights, Vixamar remains humble and doesn’t overestimate the value of his newfound beliefs. “I can’t say my knowledge is superior to anyone else’s. I will simply say that it is part of all knowledge. I won’t impose it on others, just as I won’t accept others imposing  theirs on me.” 

One of the evening’s highlights was the stunning performance by break dancers Samantha Valencia Chertoute and Medgine Paul, showcasing an innovative and bold fusion of cultures. By blending contemporary break dance moves with traditional Vodou elements, these performances created a striking contrast and a captivating artistic synergy.

This fusion of breakdance highlights how modern art can connect with ancestral heritage. By combining contemporary forms of expression with traditional practices, Vixamar shows that preserving culture requires adaptation and renewal. The dancers, with their talent and passion, play a vital role in this mission, exemplifying the vibrancy and universality of Haitian culture.

One of the most electrifying moments of the “Dekolonizasyon” show was the character’s appearance as Bawon, a Haitian Vodou spirit often linked with death and healing. Dressed in traditional attire, Bawon—symbolic of the cemetery’s guardian who possesses the knowledge of the dead and the outer world in Vodou traditions—made a dramatic entrance onto the stage, instantly capturing the audience’s attention and imagination.

This performance by Bawon was not simply a visual performance, but a powerful reminder of the ancestral beliefs and Vodou rituals that continue to play a crucial role in Haitian culture. Through his spectral presence and gestures, he embodied the struggles and losses, but also the hopes and resilience of a people fighting to preserve their roots.

With this staging of the Bawon, Vixamar resonated with the echoes of deep spirituality and reminded the audience of the perpetuation of Vodou traditions. The spectators, immersed in this spellbinding atmosphere, had the opportunity to reconnect with the sacred dimensions of Haitian culture, feeling a stronger link with ancestral spirits and the symbolic power of the Bawon.

For Assey Roy “Troy” André, dancer and choreographer on the project, dekolonizasyon is a blend of pop dance and traditional dance, folklore and emotion. It’s a way of selling an instrument that’s been demonized, even among contemporary youth: the drum. He remarks that Youry’s album, through his research and musical pilgrimages, offers a project to break mental and physical chains. 

“His music has the ability to transport you to a world where you feel free. It also makes you feel at peace, where your rights, as a human being, are respected,” André said.

At the end of his show, Vixamar warmly thanked the audience for their presence and enthusiastic support. Visibly touched by the evening’s warm welcome and palpable energy, Vixamar expressed his gratitude by stressing the importance of this connection with his audience.

“The audience was not just spectators but active participants in the reappropriation and valorization of Haitian identity’, the drummer said. “I watched the crowd having fun, dancing, and learning too. We’re not just entertaining; we’re also educating. I saw young people, children and adults alike. I thank them all for that.”

Vixamar also offered special thanks to everyone who helped make the event possible, including the dancers, musicians and staff of the Institut Français en Haïti and some private individuals. “Each person had contributed a valuable stone to the foundation of this ambitious project,” he concluded.

The post “Dekolonizasyon” concert: Haitian drummer Youry Vixamar electrifies with Vodou rhythms appeared first on The Haitian Times.

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“Dekolonizasyon” concert: Haitian drummer Youry Vixamar electrifies with Vodou rhythms was first posted on February 3, 2025 at 1:34 pm.