=?x-unknown?q?23588=3A__D=2EP=2EM_-KANNT=C8_by_Jan_Mapou=3A?==?x-unknown?q?_a_bridge_between_fiction_and_reality_=28fwd?==?x-unknown?q?=29?=

[Bob Corbett <corbetre@webster.edu>]

From: E Vedrine <evedrine@hotmail.com>


"D.P.M -KANNTÈ by Jan Mapou: a bridge between fiction and reality"

by E.W.VEDRINE

D.P.M -Kanntè is a beautiful piece of drama that Jan MAPOU gives to the
National Theatre, a whole new dimension. This work is a piece in the plight
of the Haitian people who are going to look for better life abroad, but one
that destroys their dream. D.P.M.-Kanntè is a tragicomedy; it is tragic and
comic at the same time. Though what this play depicts has to do with coup by
general Raoul Sedras, the artist, Jan Mapou traces  indirectly a story that
goes back to Papa Doc’s (Duvalier) regime where the macoutes were
persecuting the people. First, we see that philosophy in the captain,
brother MATYAS, a macoute, zenglendo himself pretending to be a newborn
Christian, but as the Haitian saying says: “The dog who used to eat eggs
never breaks from his habit”; Matyas’ heart has been changed. He is a man
with no heart for the poor, a hard hearted-man who only knows his pocket.

Mapou continues to show how the zenglendos of the army were persecuting
these boat people throughout the story that each one is telling during the
trip. It is truly a historical painting of the September 30 Coup.  Mapou
also shows a type of “union” that exists during the voyage: each person is
telling their own story. Each one shows their religion and they manifest
their belief without any prejudice where one respects the other’s: those who
are invoking God, Simbi, Mèt Agwe... to come to rescue them when are between
the road of death and life. We can retrace these believes through the songs,
by Kiki WAINWRIGHT, which play a great role in this book. But despite of
their beliefs, we are going to see in the sixth part of the book that nobody
can stop destiny’s horse when it’s running. This horse’s bridle is in God’s
hand.

It is in these parts that the tragedy is really found where everyone is
going to perish, with the exception of a toddler whose mother has just given
birth to. That is the central point of the play here where many critics can
wonder: why does Jan Mapou create this miracle at the end of the play? I
believe here, there are many interrogation marks a critic can put after the
seventh part, the last scene. But, as I already said, we have no power over
“destiny”.

D.P.M-Kanntè is a form of literature that I would like to see real writers,
Haitian artists produce in the Kreyòl language, a literature that has
muscle, one that is strong and live and one that has good spices.  This play
will become a classic. I would suggest that it is translated to English
right away for a larger audience, including all critics about it. This, I
guarantee it, is a book that can be used in courses related to “Caribbean
Studies”, “Caribbean Literature”, “Haitian Studies”, “Black Studies”… I wish
the author good luck and that I wish that he continues producing other
beautiful plays in the Haitian language.


Notes:

This book review was first published in Haitian Creole in Haïti en Marche,
Vol. XI, #1 - February 1997.

* D.P.M.-Kanntè: (D.P.M = “Dirèk Pou Miyami” or non-stop to Miami) a term
that is mostly used by people in the Bombardopolis area in Haiti.

* Kiki Wainwright: Haitian poet, artist (dancer, musician) and writer.

* Macoute: Duvalier’s thugs and also secret police.

* Mèt Agwe: God of the sea (in Haitian voodoo).

* September 30 Coup: One of the most bloodiest coup in Haiti’s history (on
September 30, 1991) orchestrated by general Cedras and colonel Michel
François.

* Simbi: One of the three cosmic serpents in Haitian voodoo; the water-snake
lwa (spirit).

* Zenglendo: armed thieves; group of armed thieves, bandits that appear in
Haiti after the collapse of Jean-Claude Duvalier’s regime (1986).

D.P.M.-Kanntè (book or video)
is available at Libreri Mapou http://www.librerimapou.com/; JanMapou@aol.com