This past Saturday, May 18th, 2019, I attended the 21st Annual Haitian Compas Festival, at Mana Wynwood Convention Center, Miami, Florida, the same venue the event was held last year. As I’m always excited to be around art, being at the Wynwood Art District for the HCF, I thought would be worthwhile and it was. I knew I would get the opportunity to walk around and admire some beautiful graffiti and murals before the Fest starts, so I made sure I went early enough to get a good parking area and do my tour. My art appreciation was at an all-time high by the time I decided to go in the Fest; it was 5:11 PM — beautiful rainless South Florida vibe.

Driving to the HCF, I was streaming Father Of Asahd — DJ Khaled’s new album. I was inspired, motivated and ready for some Compas music and watch some good performances. I have had to opportunity to attend the festival at least 8 times throughout the years, starting in 2004, the year I performed. Because of my experience with the event and who I am naturally, I usually take my critical eyes and ears with me every time I attend the festival. Hence, I always end up walking away feeling disappointed with the same question: Is That The Best We Can Do? This year, I kept my expectations very low because I didn’t want to feel disappointed once again. I made peace with myself that I would be less judgmental, give everyone a chance, and enjoy the show.

To me, the HCF is still the biggest and the most popular event we have in the Haitian Music Industry (HMI). The event may have had its share of lows over the years; however, it has had more highs according to people close to the organization. Doing something of this magnitude for 21 consecutive years is tremendous no matter how you put it. Some things just can’t be quantified. We should all appreciate the fact that we have an event as such in the city of Miami that promotes our Haitian culture.

I must give props to the organization for being consistent in many ways for so many years. Yes, there were some things I thought could have been better. The question of whether or not some of the people who are in key positions are good enough at what they’re hired to do for the organization still traveled my mind. However, I think the organization as a whole is still doing a good job. I do think though it needs to spend a significant amount of time brainstorming how to re-brand the event moving forward and making a tremendous effort to appeal to the young generation of Haitian Americans.

Still, It’s not clear whether or not the festival is a Haitian Flag Day celebration event or simply an event to present the “Best Compas Playlist” every year around that time. I could not put my finger on what exactly the theme of the day was other than different acts got on stage and do what they normally do. Time really begs for some fresh ideas.

Rodly “Oz’mosis” Madeus

HMI Buzz: The Number One Source For The Haitian American Experience.

In conjunction with Haitian Heritage Month, the Museum of Contemporary Art North Miami (MOCA) will display “PÒTOPRENS: The Urban Artists of Port-au-Prince” which brings together the work of over 20 artists working in the Haitian capital. The exhibition, on view April 23 to August 11, 2019, highlights Port-au-Prince’s many diverse centers of cultural production, informal street life, religious heritage and mythologies to create a compelling portrait of a historically significant and intensely complex city in flux.

Co-curated by Haitian-American artist and curator Edouard Duval-Carrié and British artist and curator Leah Gordon, and organized by Pioneer Works Founding Artistic Director Gabriel Florenz with special advisor Jean-Daniel Lafontant. PÒTOPRENS is a large-scale exhibition of sculptures, photographs, and films, accompanied by a recreated Port-au-Prince barbershop as well as extensive public programming. The entire exhibition is depicted in the native Haitian tongue Creole.

Port-au-Prince is a polyphonic city declaring its cultural history via multiple voices. Representing one of the most vibrant and creative cities in the Caribbean, PÒTOPRENS is not simply a survey show, nor is it a comprehensive snapshot of contemporary Haitian art. It is an exhibition that uses the city of Port-au-Prince as a lens through which to view the chaotic intersections of history, music, politics, religion, magic, architecture, art, and literature— to enable the viewer to reflect upon the past and speculate about the future of this vital city and its country.

The exhibition presents a diverse group of sculptures including sequined Vodou flags, stone and wood carvings, and found object assemblages, most of which have never before been seen in the United States. The sculptural installation mirrors the organization of the city itself by highlighting specific districts in Port-au-Prince where art is produced—each with its own particular subjects, forms, and materials. The neighborhood of Bel Air, situated on a hill that rises behind the remains of the Catholic Cathedral in downtown Port-au- Prince, has a rich concentration of Vodou flag artists and sequin sculptors—a tradition alleged to have originated from the royal flags and banners of Benin.

Read more on www.mocanomi.org