From the age of 6, he faced the wrath of his mother to live his passion, "chouval bwa," that is to say the music that accompanied the traditional merry-go-rounds of wooden horses traditionally operated by the strength of men.
As a teenager, Dédé was already part of small bands in his native town, as "Les Trouvères" and "Les Juniors". His first album recording was alongside his local choir at the Fort-de-France Cathedral when he was 15 years old.
After playing in various bands including "La Selecta" and "Malavoi" Dédé Saint-Prix forms "Pakatak," an experimental rhythmical band, to restore the music of his childhood to its prime and revive the Martinican identity, somewhat overwhelmed by the Ka of the neighboring island of Guadeloupe.
At that time, Dédé is leading a double life working on two careers: teaching and music.
In the early 80s, France, Africa, the United States and other territories discover him through the swaying rhythms of Chouval bwa. This is the music that allows him to sing his heart out while still allowing some influences from other Caribbean islands: Cuba, Trinidad, Jamaica or Haiti ....
A great entertainer, passionate singer, percussionist, flutist, saxophonist, Dédé draws his texts from the colorful heritage of old times storytellers which depict both the sassy rural atmosphere and the current events of his island.
It is as a defender of Chouval Bwa music that Dédé Saint-Prix takes his true dimension: his music has been heard around the West Indies, Guiana, Africa, Europe, Columbia, Quebec, Brazil or the United States. He rocked the prestigious stages of the Paris Olympia and Zenith, Central Park (NY)... Audiences of various festivals enjoyed his music in Angoulême (Musiques Métisses), Bourges (Le Printemps de Bourges), La Rochelle (Les Francofolies), in Rio de Janeiro (Rock in Rio), Budapest (European Music Festival) ...
In 1991 he resigned from his job as a school teacher to devote himself to music.
The 90’s will mark another milestone in the career of Dédé Saint-Prix with his first teaching actions. He led masterclasses of Afro-Caribbean percussion for Musiques Métisses Festival in Angoulême, Falun Folkmusic Festival in Sweden or the Simone Signoret Center in Bordeaux. He taught Afro-Caribbean percussion at the Conservatory of Angoulême for several years. As one of the honorary members of the Music and Health Association, he leads percussion master classes in verbal and body rhythms as well as music workshops in hospitals on their behalf.
➢ 1968: Missa Antilla (François Choir)
➢ 1972: Maxi-Twenty
➢ 1974: Maxi-Twenty
➢ 1974 to 1978: 4 albums with Malavoi
➢ 1979 to 1981: 2 albums with E +
➢ 1979: Céphise with Pakatak
➢ 1980: Sonao with Pakatak
➢ 1981: Piblisité with Avan-van
➢ 1982: Antiyèz-la with Avan-van
➢ 1984: Soldat Papillon with Avan-van
➢ 1987: Lerdou with Avan-van
➢ 1988: Mi sé sa with Avan-van
➢ 1988: Le Grand Méchant Zouk, Sony Music
➢ 1989: Kannel with Avan-van
➢ 1990: "Amazone" with Joelle Ursule (songwriter)
➢ 1991: Arréte ton délire
➢ 1993: Ses plus grands succès (greatest hits compilation)
➢ 1995: bwa Chouval Without Borders
➢ 1997: Afro-Caribbean groove
➢ 1999: Réperk'ut & Bon bagay with some of his students
➢ 2002: Dédé Saint-Prix le méilleur en concert (Live album)
➢ 2002: Ti-Jack and Dede Saint-Prix, A la Tingawa
➢ 2003: LPK Yoles
➢ 2005: Fruits de la patience
➢ 2007: Mélanj’
➢ 2010: Samosas (Au fil de l’air)
➢ 2013: Raices y Culturas
➢ 2014: Aka Man Soso
The music of Dédé Saint-Prix also appears on numerous compilations of West Indian or traditional music.
February 2010: Ecuador and Colombia with the French allianceJuly 2010: Festival les temps chauds in Bourg en Bresse
November 2010: Gwadloup Festival
March and April 2007: Antoine Vitez theather in Ivry sur Seine
July 2006: Pireneos Sur in Spain
March 2006: Winterfest at Middlesbrough Town Hall
June 2006: Le Cap in Aulnay sous Bois
June 2006: Le Grand Méchant Zouk at Bercy
May 2005: Cabaret Sauvage
June 2005: Mixed Musiques Métisses in Angoulême.
June 2005: First festival of the “flûte des mornes” (traditional bamboo flute) in Marigot
February 2004: Tribute to the Ka Masters at Asnieres.
August 2005: Tunis and Hammamet
April 2004: Concert of Ti Jack and Dede Saint-Prix at the Espace Prévert in Savigny le Temple.
June 2004: Sugar cane festival at St. James (Sainte-Marie, Martinique)
November 2004: Caribbean Festival in Bobigny (prod MC93)
December 2005: Theatre of Ivry Antoine Vitez
2003: Concerts on behalf of Creon Music in Disney Village for the first Afro Caribbean night as well as at the Club Med World.
Concert for France Musique at the Maison de la Radio.
Concerts in Martinique for Emergen’s agency and Ony'x Production.
March 28, 2003: Printemps Créole (Creole Spring) in Montreal for Tropic Arts
May 2003 Paris Fair: The Tropical Festival for Art et Son Communication
Creole Blues Festival in June 2003 in Marie Galante.
June 2003 Caraïbes Ô in Chauvigny
July 2003 Métis'Arts Festival at the Cultural Center of Fond St. Jacques.
July 2003 Patron Saint's Day in Le Diamant (Martinique)
December 2003: Chanté Nwèl (traditional Christmas Carols event) at le Baiser Salé
December 2003: Tissé Métisse Festival in Nantes
2003: Music in the hospital of Kremlin Bicêtre (Professor Alvin Wing) thanks Cité de la Musique and to and the Music and Health Association
➢ February 2003 50th birthday concert, New Morning, Paris
➢ January 2003 Live recording of Equinoxe, Radio France
➢ August 2002 Les Nuits Atypiques Festival in Langon
➢ July 2002 Calebasse Café, Marin, Martinique)
➢ May 2002 International Festival of Vivonne
➢ May 2002 Zephir of Cayenne (with Trio d’argent)
➢ January 2002 Musique et Poésie Concert, Radio France
➢ December 2001 Mercado Cultural, Salvador de Bahia Brazil
➢ May 2001 Club Med World (Paris)
➢ May 2001 Musique Métisse Festival, Angoulême
➢ The August 2001 Port of Call St Nazaire
➢ Cultural Festival in July 2001 in Fort de France (Sermac)
➢ January 2001 Rock in Rio Festival, Rio de Janeiro, Brazil
➢ June 2000 Zenith invited by Tanya St Val, Paris, France
➢ March / April 2000 Carte Blanche, Atrium, Fort-de-France, Martinique
➢ December 1998 Halles de Schaerbeek, Brussels, Belgium
➢ September 1998 Fête de l’Humanité, La Courneuve, Paris, France
➢ Arts Center in July 1998, Pointe-à-Pitre, Guadeloupe
➢ August 1997 Central Park Summerstage, NY, USA
➢ August 1997 Metropolis, Franco follies of Montreal, Canada
➢ June 1997 Festival of Music, Budapest, Hungary
➢ May 1997 Musique Métisse Festival, Angouleme, France
➢ April 1997 International Festival of Louisiana, USA
➢ March 1997 Bataclan, Paris, France
➢ December 1996 Le Plus Grand Zouk du Monde, Bercy, Paris, France
➢ August 1996 Cité de la Musique, Parc de la Villette, Paris, France
➢ 50th July 1996 Avignon Festival, organized by Radio France
➢ Hot Brass in April 1996, Paris, France
➢ March 1995 Florence Gould Hall, N.Y., USA
➢ October 1994 Les Halles Auditorium, Paris, France
➢ September 1994 Britannia Leisure Centre, London, England
➢ July 1994 Opening of the Francophonie Games, France
➢ May 1994 Musique Métisse Festival, Angouleme, France
➢ May 1994 Banlieues Bleues Festival, Paris, France
➢ January 1994 New Morning, Paris, France
➢ May 1993 Musique Métisse Festival, Angouleme, France
➢ March 1993 Mulhouse, Paris
➢ Centre des Arts in February 1992, Pointe-à-Pitre, Guadeloupe
➢ CMAC February 1992, Fort-de-France, Martinique
➢ October 1992 Latin American Festival, Marseille, France
➢ September 1992 Zouk de la Rentrée, Lyon, France
➢ July 1992 Festival of the City of Fort-de-France, Martinique
➢ January 1991 Karival Show, Guadeloupe
➢ June 1989 Moule, Guadeloupe
➢ February 1989 Biennial of the French overseas departments Bercy, Paris
➢ January 1989 Town & Country Club, London, England
➢ September 1988 Olympia, Paris, France
➢ August 1988 Antilliaanse Feesten, Hoogstraten, Belgium
➢ SUMMER 1988 Le Grand Méchant Zouk, Caribbean, Bordeaux and Paris
➢ June 1988 SOS Racisme, Dakar, Senegal
➢ May 1988 Africa Fête, Grande Halle de la Villette, Paris
➢ March 1988 Zenith, Paris, France
➢ October 1987 Theatre de la Ville, Paris, France
➢ July 1987 Paleo Festival, Nyon, Switzerland
➢ Chateauvallon July 1987 Festival, Toulon, France
➢ July 1987 Franco follies, La Rochelle, France
➢ June 1987 Feria of Nimes, France
➢ May 1987 Grande Halle de la Villette, Paris
➢ SUMMER 1985 Europe 1 Podium, touring 48 French cities
➢ April 1985 Printemps de Bourges, Bourges, France
➢ October 1984 Nancy Jazz Pulsations, Nancy, France
➢ July 1984 Summer Festival of Quebec, Canada
➢ June 1984 Jazz in France, Angoulême, France
➢ March 1984 Festival of Cartagena, Colombia
➢ December 1983 First Jazz Festival in Martinique
➢ Centre des Arts in November 1983, Pointe-à-Pitre, Guadeloupe
➢ November 1982 Chapelle des Lombards and La Mutualité, Paris
➢ June 1981 Jazz in France, Angoulême, France
Awards and trophies
2012 Chevalier de l'Ordre National de la Legion d'Honneur
2012 Chevalier des Arts et des Lettres
2000 Honorary President of Le François Festival, Martinique
In 2000, Dede Saint-Prix was twice honored by his hometown, Le François. First by presiding over the patron saint festival on October and then by being one of three Franciscans honored by the tourist office during the 6th edition of "Music and Culture of My Country " festival.
1997 Honorary Citizen of the city of Angoulême
May 30, 1997, Dede became a Honorary Citizen of the City of Angouleme.
A standing ovation accompanied the presentation of his medal at the town hall. Philippe Mottet, mayor of Angoulême, emphasized in his speech, the teaching abilities of Dede.
1997 SACEM Awards Martinique
For the tenth anniversary of the SACEM, a grandiose fabulous ceremony was held, chaired by Charles Aznavour alongside the biggest and best Caribbean artists.
Dede received the "SACEM Award" for best author for his song "Etiw" co-written with Jocelyne Béroard as well as best album of the year for "Afro-Caribbean groove." It's Jocelyne who represented Dédé, as he had to be abroad for a concert.
1996 SACEM Awards Martinique
March 15, 1997, at the Novotel Diamant Hotel in Sainte Luce, Dede received the “SACEM Award" for best traditional music with "Balanséy lala", a duet with Tanya St. Val. That year, Mario Cannonge, Jocelyne Béroard, Kali, Eric and Vincent Virgal Ozier-Lafontaine also received awards.
1993 “Douceur d’Or” Awards, Paris
In May 1994, Dede receives the "Douceur d’Or" Award for musical tradition.
His accomplice, Kristian Jésoph, found the right words to excuse his absence from the ceremony. That year, the jury, chaired by Paco Rabanne, presented Henri Salvador with a “Special Douceur D’or” Award.
1983 Maracas d'Or Paris
June 20, 1983, Avenue des Champs-Elysées, Dede Saint-Prix receives the "Maracas d'Or" for the Traditional Music category. That same year, the band Malavoi received one in the Research category, and Francis Bebey received a special lifetime achievement award.
Dede has always been influenced by the rhythms and melodies from the Caribbean, but also from Africa. In short, black culture inspires him. He is always looking for new musical encounters, and likes to mix generations.
Cultural exchange and sharing of experience between musicians from different countries have enriched and enhanced the style of Dede Saint-Prix.
Already, on his first album, Missa Antilla, in 1968, he collaborated with Lola Martin. Many creations were to follow, some of which are still unpublished.
Here are some examples of collaboration:
- Jean Rémy Guedon (Archimusic) 2010
- Jean Marie Leau (Vocalib) 2010
- Thierry Pecou (Haute Nécessité) 2010
- Philippe Bouteloup (Music and Health) 2009
- Difékako 2009
- Les Maîtres du Bèlè 2009
- Les Griottes Maliennes (Fanta Disco)
- Orchestre National de France, 2007
- Manu Dibango Pireneos Sur (Spain)
- Orlando Poleo, 22 drums for May 22, 2006
- Les Gnaouas d’Agadir 2002
- Trio d’Argent at Souf'chouval bwa 2001
- Armand Acheron, Gerard Pomer and Ady Gatoux 2000
- Malavoi Marronage 1999
- Weedy & Delta, Afro-caribbean Groove 1998
- Jocelyne Béroard, Etiw 1998
- Pierre Rosier, Gazoline 1998
- Jose Angel Navarro, Guitar Festival, CMAC, 1998
- Zshéa, Fierté pa nou, 1996
- Tanya St. Val, Balanséy, 1995
- Serge Gainsbourg and George Augier, White & Black Blues, 1991
- Joelle Ursule, Amazone, 1990
- Slim Pezin, Lerdou, 1987
- Sylviane Cédia
- Ti-Raoul Grivalliers
- D' de Kabal
- MC Janik
- Pierre Edouard Decimus
- Jean Marc Perissat
- Marcé ......
- Thierry Vaton
- Thierry Fanfant
- Jean-Philippe Fanfant
You are the personified image (sincere and striking) of your two favorite instruments, you hit like your drums and you float like your bamboo flute.
As the leader of Avan Van, you gave us albums that have all the ingredients for hit records. New, original, they electrify deeply with your mark as a chouval bwa master all the contemporary decibels.
Everlasting witness of our ways, your inspiration plucks its essence from our streets and illustrates wonderfully episodes of our lives, caught in the act by your verve.
A singer ? Much more than that !
Dédé Saint-Prix, you belong to the league of storytellers directly descending from ancestral griots.
Just like them, you draw our portraits with tender irony, allegorical parables and sweet metaphors.
If Zobel was a singer, you would gladly be mistaken for one another. You write and you talk for those who have no voice, for those who are so close that we do not see or pay attention to them.
A lover of your peers, available to all emotions, you have this childlike soul and grace that characterizes poets or school teachers (which you once were), filled to the brim with faith.
With your double entendres, the truths that you serve and the aspirations that you confess to, the Creole language finds its swing and its regal status.
You turn music players into island pavements. When your chouval bwa goes round and round, like a crazy merry go round, it’s like you enter a Caribbean town on festival day, images, movements, fever and party. Market stalls, gossip, fishermen, dice players, farmers, they all come onto the scene crystal clear, naive, alive.
Mixing jazz, riding salsa, compas and zouk, your chouval bwa is fearless.
Bold, fiesty and confident, Dédé Saint-Prix, just like an expert jockey, you can ride your music on all musical soils.
The way you shine has permanently inscribed chouval bwa onto the show business hippodrome. It is even currently leading the race. It has been there for a few years now and, thanks to you, it is strongly holding on to the top four.
“A culture that is sitting strong or standing tall”, you say “should not fear fashion or passing artistic currents. On the contrary, chouval bwa music feeds from them to mold them as it pleases.”
When Man Dèdène, Dédé Saint-Prix’s grand-mother, takes her grand-son to the town fairs of Martinique, little did she know that he was going to be bitten by the chouval bwa bug. The animation, the music and especially the merry go round, the chouval bwa pushed by men to a haunting and irresistible rhythm, all of this engraves itself in Dédé’s memory and he will later on attempt to give it back the luster and the cadence of these magical days.
It’s no surprise, then, to find Dédé playing the congas with small neighborhood bands. Very soon, he makes it to Fort-de-France, the Djoubaps and Malavoi very quickly call for him to exercise his talents.
Dédé Saint-Prix has a reputation to defend and he chooses to dedicate himself to music. His experience with the band Pakatak has him convinced following a concert at the Angoulême festival, a key moment for French Caribbean music which had just started to come out of its ghetto and to be recognized at its true value. Dédé Saint-Prix creates his own band, Avan Van, his chouval bwa is on a conquering mission: reggae music has taken over the world, why wouldn’t this rhythm be able to do the same ?
Avan Van grows bigger. Musicians living in Paris join the band. They rehearse, they record in studios, they aim very high. Dédé Saint-Prix eventually records the album “Lerdou” in the best possible conditions, with neat arrangements, it matches all his ambitions. This album is rich and full of surprises. It puts chouval bwa as a direct competition for Kassav’s zouk which was hogging the limelight of the French Caribbean music and recording world for a few years already.
Dédé Saint-Prix found his own way without stealing from Kassav’s recipes for success unlike many other French Caribbean bands. He can now brave live shows where the way he beats the drums, his rhythmic power and the imagination of his improvisations are more and more sought after. The stage is the only place where the brass instruments, drums, keyboard and guitars can really express themselves fully. Jazzy and punchy arrangements for the brass instruments, striking and intoxicating drums, mournful or mocking flute and a voice that pulls you, pushes you, carries you away. Dédé is a show man, the French Caribbean answer to James Brown. You cannot resist his calls. It rocks and it rolls and when Sonia, the dancer, twirls on the stage, you get dizzy just like you would on the merry go round... the chouval bwa of his youth.
Most music fanatics don’t know this: there is zouk, and then there is zouk. The rhythm always goes pak-pitak pitak-pak, pak-pitak pitak-pak, BUT THE MUSIC IS NOT ALWAYS THE SAME.
Take Dédé Saint-Prix, for instance. What is the link between the roots and melancholic sound of Dédé’s music, its swaying strikes, and the foolishness of the zouk love or disco zouk that inundates our radio waves ? NONE AT ALL, dear reader.
André Saint-Prix was born in le François, a town on the Atlantic coast of Martinique, heavy with folks tradition, comedy and humour, from the mocking moods of the carnival to the merry atmosphere of balls, weddings, etc.... and in the Sunday town fairs, he meets with the chouval bwa, a merry go round pushed by men with, in the middle of it, a band which music dictated their joyful cadence. Tin cans that used to contain butter or milk as well as his voice were resonating with the rhythm of damier, haute taille and chouval bwa.
At the end of the 70’s (he was a school teacher then), he decided to restore the latter to its place as musical heritage to give its soul back to the Martinican identity which, plagued with cultural inhibitions, favours, amongst others, the Guadeloupean gwo ka. He forms the band Pakatak according to tradition: the bamboo flute, the big drum and other percussion instruments such as the cha-cha.
The melodies are often borrowed from the bel air (called bèlè in Creole, a musical style revived by Eugene Mona during the 70’s). Dédé adds to this formation 2 electric bass guitars to give a more urban sound.
By the end of the 70’s, the public love him. They dance and enjoy his colourful Creole lyrics, between ironic parables and social criticism. Dédé draws a portrait of the public and intimate atmosphere of Martinique, he teases and brings some island truths to light, in keeping with the storyteller tradition. From then on, he is known as the “Island Griot”, a smuggler of music. But Dédé loves the open sea of the Caribbean, this cultural area born at the contact of many civilisations in the American colonial societies. He sometimes infuses his music with influences from Haiti (kompa) and rhythms from Trinidad, Cuba, Puerto Rico...
This musical effervescence was born from the desire to always go further into the exploitation of tradition while never losing sight of the collective identity. Intense memories of words, images and episodes of his childhood vibrate inside Dédé. Within him, as well as the rest of his fellow people, the wounds of the humiliation of the slave trade and the atrocious conditions of slavery vividly remain.
He brings together those who live far, who are home sick, in France, in Europe, in French Guiana, in Africa, in Colombia, in Brazil, in the US and in Canada... Then last year, during a concert in Fort-de-France, this Martinican artist brought back his flamboyant stage phoenix from its ashes: Avan Van, in almost complete formation. This event was prolonged during the Banlieue Bleues festival, a return to the front of the stage of this legendary band of the French Caribbean music which promises many a restless leg.
I first met Dédé in 1981. It was at the Chapelle des Lombards. One of the best known places for French Caribbean music in Paris. Jean-Luc, the boss, called me at work, at Nouvelles littéraires. With his beautiful Toulouse accent, he told me “I am about to receive a Martinican band. You have to see this. They are from another planet.” As far as extraterrestrials go, what I did see was the band Pakatak and Dédé, its wonderful flute player, singer and drum player. The extraterrestrials were deeply rooted in the Martinican soil. It was a shock to my system. These people who shared my nationality, but came from so far, had not renounced their African roots. Such emotion ! And what a discovery ! And I thought the French Caribbean only produced cadence, biguine, compas and mazurka.
This is what I tried to convey into my article for Nouvelles littéraires. Dédé’s commentary was “Well, if that’s how you feel about it...” That wasn’t very engaging, but I still came back for more from Dédé and Pakatak until the end of their Parisian stay. And I went back to see them every time they came back to France. Little by little, the musical poet and I established a contact both frank and rewarding. Dédé is an excellent teacher of Creole and of tolerance.
Then came 1983 and I went to visit him in Martinique. I found him in his kindergarten class in Sainte-Luce, him and his pupils were getting ready for carnival. We have been friends ever since. His music had impressed me by how much it was rooted in its black identity but Dédé proved to be a man who was very open to other people and their cultures. One day, as I was telling him how much I disliked the Belgian accent, he replied “Maybe Belgian people dislike your accent, you know ?” How could you not appreciate a friend who puts you in your place so nicely ?
As time went by, we became more than friends: members of the same family. We worried for each other’s children or each other’s parents, (Anatole, my son, is Dédé’s godson). I exchange seeds and gardening tips with his mother, Yaya. When Jessy made Dédé a grand-father with little Antonio, I was one of the first ones to know. When I ended up in hospital, Dédé and Jessy came to visit me. Let’s just say that what we share cannot be undone by life’s little accidents.
Finally, how could you not admire this leader of crowds who can set the Zenith or the Olympia on fire or make children from a centre for multiply handicapped people sing and dance ? Dédé has always known that music is a universal language which role is to bring peace and bring human beings together. It’s his life. It’s also his true fight. Very few men deserve to be honoured the way he is today.
Jean Marc PATY
"Life, voice and body percussion"
1. Purpose of the activity:
Allow anyone to access the language of percussion.
Refine listening skills and respect for others.
Awareness the "spatio-temporal-corporal" space.
Develop spontaneity and concentration among trainees.
Provide greater confidence and recognition within the group.
Assisting, recognizing, distinguishing, perceiving, making sounds is all part of the "body-voice" games which will lead to an enjoyable production.
Communicate a sense of belonging while following rules based on fun, listening and respecting others.
Bring everyone to express themselves and the group to find a cohesion, and thus its soul.
Having fun sharing and playing together.
Dividing and understanding of rhythm:
Fun exercises based on onomatopoeia will allow everyone to feel at ease and facilitate the contact with the instrument later on.
These exercises cab be experienced physically, chanted, whispered and will form the "silent clock". The aim is to continue exercising in your head ("mute") and then say your part on time at the teacher’s request ( “unmute"). The joy students feel when they reach perfect synchronization confirms that the exercise is being performed properly.
Finding your place in the tempo often gets people to emulate each other which facilitates complicity and better socialization.
When the group has grasped a basic rhythm, we proceed with developing subgroups or sections.
Polyrhythm refines listening, concentration and self-confidence, which is always beneficial to group morale. The more elaborate, the more powerful the level of listening. Motivation increases in proportion to it. It acts as a reward.
No section starts a sequence without a count.
Conventions exist within the group. For example: a sign language is set to give the order to execute a loop, a pause, a crescendo, a tone, etc....
3. Getting Started:
a) The language of the instruments
• The chacha (calabash or can that you shake) "char richar richar char!..."
• The ti-bwa (bamboo hit with sticks), "tak pitak pitak tak !…"
• The drum débonda (2 sided drum) "doum bédoum bélékédoum bédoum! ..."
• The ka (skin on barrel drum) or
The djembe (skin on hollow trunk drum): "piting plang pleng kataw plak !…"
• The bell "tikiting tikitòk tikitak tikitouk !…"
• The Snare "takach kalikitach tach tich kitich !…."
• The cymbal and bass drum: "bich bouf bichoum !…"
• The cymbal and snare "kach kèch kouch !…"
• The bass drum, snare and cymbal, "tak bich plak brijit !…"
b) The language of rhythms and breaks:
Regardless of where we are, we are able, through onomatopoeia, to create, store, and produce rhythms. Instruments will only come into play later.
A break is a module that is used to start, finish or punctuate a song.
A succession of breaks is called a wouspèl and may serve to refocus the group's attention.
c) The rhythms:
We also dissect the basic rhythms:
➢ The Chouval bwa # 1 (from Martinique): "doupang douk pang douk pang douk pakou doupang douk pang douk pang douk pang"
➢ The Chouval bwa # 3: "douk pang douk pang doupang douk pang douk pang douk pakoudoupang douk pang"
In each case we have two measures of four. Both can be found in the same piece depending on the arrangement. But the highlight (in bold) is located on the first beat of each measure in the No. 1, and on the third beat of each measure in the No. 3
➢ The Mendé: (from Guadeloupe) "dougout katoukou tak touktak toukoutak"
This is a measure of four which when played in a loop sets the pace of Mendé.
The highlights (in bold) can be used by a section of the groupe and the rest by another.
Onomatopoeia written on the board become the partition, and represent each rhythm.
➢ The Vidé (from Martinique) "douk pak douk pak doupakpadouk doupalakadou palakadou pakpadouk"
For each rhythm, there are variations which are distributed amongst sections of the group.
Other rhythms studied: the Mazurka, Merengue, 6/8, Comparsa and Soka ...
d) The songs:
➢ Mi mwen, mi ou: song of gathering and unwinding
➢ Mabèlo: song miming cutting sugar cane
➢ Pran téléfòn: Carnival song accompanied by hand gestures
➢ Chapo-w tonbé: Carnival song
➢ Etc. .....
At the end of each session, we criticize ourselves, while relaxing as much as possible with exercises based on singing, breathing and whispering.
Name: Saint-Prix André ; Customary name: Dede Saint-Prix
In: Le François (Martinique)
Instruments played: bamboo flute, voice, saxophone, conch, percussion (guiro, chacha, ti bwa, drum, drumset ...)
Musique Métisse Festival
French Caribbean Special and opening of Gabriel Faure Conservatory of Angoulême alongside Aimé Césaire.
Parisian residence for the festival Banlieues Bleues: in high schools in Sevran (G. Brassens), Epinay sur Seine (Roger Martin of Gard), Saint-Denis (Garcia Lorca). All the pupils involved participated in the Sevran carnival (1994).
Percussion workshop for two years in college Roger Martin du Gard (P.A.E.)
Percussion classe P.A.E. at Juliot Curie high school in Gentilly. (1995)
First educational activities within the Quartiers Lumières program (Charente)
Creation of Carnavalcade for the Comic Strip Festival (1992)
Regional residence in Angoulême and various representations with Musique Métisse (1993)
Precussion masterclass (both in 1995 and 1996) at the Falun Folkmusik Festival (Sweden).
Percussion workshop ate the P.A.E of the collège of Basse-Pointe (Martinique)
Meeting between the trainees from Martinique and those ofrom the collège Jean Moulin in Aubervilliers during the city’s carnival.
Regional residence at Angouleme from 14th to 23th April and 19th to 24th May - Le monde en fête – Poitiers
30th May - Festival Musiques Métisses – Angoulême
11th October - Les jeunes ouvrent la brèche – Niort
12th October - Rencontres des cultures urbaines – Paris-Parc de la Vilette
Professor at the Gabriel Faure Conservatory of Angoulême.
Promotion of albums and concerts with the Dédé Saint-Prix Band: 1st and 2nd May at Rochefort.
Promotion of albums and concerts: 3rd and 27th May at Angouleme.
July 1998, trip to Martinique, concert with trainees from the Charentes at the Festival of Fort-de-France on the 15th.
Professor at the Gabriel Faure Conservatory of Angoulême.
Three percussion classes at the primary school of Villiers sur Marne from 30th January to 6th February 1999.
Master class with the Funk Fanfare of the music school of Villiers sur Marne (Labojam)
Promotion of albums and concerts with the Dédé Saint-Prix Band: Villiers sur Marne 6th February 1999.
Residence at Précheur (Martinique) for the sesquicentennial of the abolition of slavery: Promotion of albums and concerts with the Dédé Saint-Prix Band: 25th May 1999
CD recording with trainees from the Charentes: "Réperk'ut and Bon Bagay" in April in Angouleme.
Promotion of the album on 14th,18th,19th, 21st May and 6th June.
CD release in December with Globe and Blue Silver Music, distributed by Sony Music.
Residence in Trinité (Martinique) on 15th, 29th, and 30th July. Concert on 30th July
Residence at the Banlieues Bleues-Carnavalcade et Solstices festivals at the collèges of Saint-Denis (Garcia Lorca), Blanc Mesnil and Bobigny. Meeting and parade of trainees from Paris and Charentes.
Concert with the Angoulême trainees at the Conservatory and Musiques Métisses festivals.
Percussion classes in Canéjan from 1st to 3rd November. Promotion of albums and concerts with the Dédé Saint-Prix Band: 4th November.
Professor of percussion at the Conservatory of music and dance of La Courneuve.
Concert on 20th May and 21st June in La Courneuve
Percussion class at the collège Pierre Sémard in Bobigny.
Concert on 23rd May ( at the festival of the collège) and on 21st June in the gardens of the Ministry of Education.
Percussion class at the music school of Villiers sur Marne
Teacher at the Gabriel Fauré ENMD Conservatory in Angoulême. Trainees from this class participated in the opening and closing of the Musiques Métisses festival.
P.A.E. (multiple workshops) "Knowledge of our cultures" at the Collège André Chêne of Fleury les Aubrais.
P.A.E. (multiple workshops) "Knowledge of our cultures" at the Collège André Chêne of Fleury les Aubrais.
Professor at the Gabriel Fauré ENMD Conservatory in Angoulême.
P.A.E.: "Eperanz’ Art": at the L.E.P. of Soyaux, LRuelle sur Touvre et Saint Maixent l’Ecole. Concert in Parthenay
Percussion class at the music school of Villiers sur Marne
Residence in Agadir (Morocco); invited by the French Institute of Agadir. Concert on June 21st in the gardens of the institute.
Master class for musicians working in schools and hospitals. (Organized by the Music and Health Association)
Percussion class at the music school of Villiers sur Marne
Class of vocal percussion for pre-teens and teens in prolonged hospital stay in Kremlin Bicetre. (Thanks to the collaboration of the Association and Health Music and the Cité de la Musique)
Residence at the Théâtre Antoine Vitez in Ivry Sur Seine. Small projects: at the school Juliot Curie A, in Eric Chatron’s class.
Creative writing of songs class: with the students of 4ème at the collège Molière.
Vocal percussion workshops with students from the lycée Fernand Léger and collège Gabriel Fauré
Caribbean music for children's choir, invited by the Maîtrise of Argenteuil. Target audience: elementary school students from Anatole France and Marcel Cachin schools and collèges Eugenie Cotton and Claude Monet.
Production of the CD Samosas for Au fil de l’air (Bourg en Bresse) and participation in the Les Temps Chauds festival alongside the choir of schoolchildren from the schools of Commerson, Chatillon sur Chalaronne, Saint Charles and Montagnat.
Singing workshops in Saint Gratien: Recreation centre of the kindergarten Jean Zay and Jules Ferry. Recreation Centre Les Capucines. School club and cultural centre Camille Claudel.
On behalf of the Banlieues Bleues festival: percussion, verbal and body rhythms workshops at the collèges Pierre Sémard (Bobigny), Robert Doisneau (Clichy sous bois), Joséphine Baker (Pantin), République (Bobigny), Jean Jaures (Villepinte).
Body rhythms and Creole songs workshops: primary schools in Chalo Saint Mars and Saint Hilaire (Essonne).
Percussion workshop at the lycée Simone Weil in Pantin.
percussion, verbal and body rhythms workshops:in Paul Faure school in Montigny Le Bretonneux and Stendhal in Trappes.
Contact : tel 00 33 607274444
e-mail : firstname.lastname@example.org
website : http://ddsaintprix.com
Dédé Saint-Prix & Gérard Pomer
Raices y culturas
Dédé Saint-Prix L'intégrale
"Melanj" sorti 2007.
Commander le CD
"Fruit de la patience"
"Fruit de la patience" sorti février 2005. Commander le CD