Sherley Davilmar, founder of La Troupe Zetwal, speaks at the Bloomfield Public Library.
For its monthly music program, the Bloomfield Public Library presented on Saturday afternoon, July 27, La Troupe Zetwal, a traditional folk dancing Haitian dance company.
The four dancers — two were seven and eight-year-olds — performed in the library courtyard to recorded tracks. The temperature had let up a little outside, so the heat was not so bad. During that time, it attracted spectators so that by the end of the 60-minute program, about 30 people had gathered.
The Brooklyn-based troupe was presented by its founder, Sherley Davilmar. In an interview following the performances, she spoke about the significance behind the dances.
The troupe was formed in 2001 with its goal to venerate Haitian culture through dance and storytelling. The first offering Saturday was a song called an “Ibo,” a call-and-response involving the audience. Throughout the program, Davilmar asked for volunteers to join the dances and songs. While adults had to be gently coerced and taken by the hand, several youngsters jumped in at every opportunity to perform.
“Most African singing is call-and-response,” Davilmar told this newspaper. “A lot of African countries have it. That was developed during slavery. A slave wasn’t allowed to speak, so they secretly gathered in little places as a way of keeping one’s identity as a person. It was a way to separate themselves from their slave masters. Usually the elders would be the callers.”
An adult dancer, Irene Siegel, performed after the call-and-response. She danced a Lenten dance called “ra ra.”
Davilmar explained that every Haitian dance has a meaning.
“In America, you can dance any dance at any time, but in Haiti, it has to be in season or it’s not Kosher,” she said.
The rhythm of the drum patterns and the costumes have to be specific, too, she said.
“There are certain colors you cannot wear with other dances,” she added. “In Lent, there are bright colors — yellows and greens.”
Next a Congo love dance and song were performed.
”Love has many aspects,” Davilmar said. “It’s love of neighbor, love of beauty. The Congo song and dance expresses how beautiful people are and how that is a source of belonging and happiness.”
There was an Ibo slave dance. The Ibo tribe is chiefly from southeastern Nigeria.
“This comes from the Ibo tribe in Africa,” she said. “They were taken from Ibo and brought to Haiti. It is a dance of resistance. In the movements, the hands are held together as if in chains and other movements show the breaking away from the chains. The red in the costumes show the blood that’s been shed. Color is very important in Haitian folk dancing.”
Davilmar has been dancing since she was 10 years old and was taught by a folk dancing master beginning when she was 15.
“Traditional folk dancing has to be taught with live drumming,” she said. “It’s taught in a way that not everyone knows.”
There were some dances that surprisingly extended well beyond what might be seen as the performance space.
“When you’re dancing Haitian folklore, you have to use the whole space,” Davilmar explained. “We’re taught to use every space while dancing.”
There are 10 dancers and three drummers in La Troupe Zetwal. Its choreography is by Davilmar and Emmanuel Kaisly, the chief drummer.
The word Zetwal derives from the French word for shining star, said Davilmar, who was born in Haiti. The troupe is based in Flatbush. Siegel, a Caucasian performer,
introduced herself as being born in Jamaica. After a moment of puzzled silence and with perfect timing, she added, “Queens.”
About the Author
