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1-Barbade Et Trinidad : Une Ressemblance En Trompe L’Œil

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UNIVERSITÉ DES ANTILLES ET DE LA GUYANE THÈSE En vue de l’obtention du doctorat De l’Université des Antilles et de la Guyane ÉVOLUTION DE L’IMAGINAIRE DANS LES SOCIÉTÉS BARBADIENNE ET TRINIDADIENNE DE 1995 À NOS JOURS (MUSIQUE, DANSE ET CONTEXTE CARNAVALESQUE) Thèse de doctorat en études anglophones soutenue par : Viviane PETRUS-FOUCAN épouse COROSINE le 3 décembre 2013 Sous la direction de Gilbert Elbaz Jury : Professeur Mario MENENDEZ, Institut d’Etudes Politiques,(Sciences Po) Rennes, Membre de Recherche du centre sur l’action politique en Europe,Rattaché au CNRS – Etudes Nord- Américaines Professeur Chistine RAGUET, Université Sorbonne –Nouvelle, Paris3, (Département du monde anglophone, UFR LLCSE) Institut du Monde Anglophone Claudie GOURG, Littérature, langues, thèâtre anglophone Business English – ELT, Université Antilles-Guyane – Pôle Guyane Gilbert ELBAZ, à la faculté de lettres Professeur, Civilisation Etasusienne, Faculté de lettres de Schoelcher, Université Antilles-Guyane- Pôle Martinique 2 REMERCIEMENTS Je tiens à remercier Charles, mon époux. Sans lui, rien n’aurait été possible. Merci à mes enfants : Valérie et Olivier Merci à Dahomé Maryse. On a besoin d’amis quand on se lance dans l’épreuve d’un doctorat. Merci à mes amis de Trinidad : Edith Johnson et son mari Yves, Nicole Joseph-Chin et Pédro, son mari et Keith Dalippour leur soutien. Je remercie Michael Anthony. Ce fut un tel événement de le rencontrer. Je lui suis vraiment reconnaissant. Merci à Glenroy Taitt, Chermaine de Suza, et Daddy Lee, disparu depuis notre rencontre Concernant Barbarde, je tiens à remercier Martin Wood pour sa gentillesse et sa disponibilité. Il m’a sensibilisée à l’histoire et à la littérature caribéenne anglophones. Mes remerciements vont aussi à Jacqueline Cumberbatch, Melba Wood, Pauline Sinkler qui m’ont parlé de leur pays, la Barbade. Merci à Mighty Gabby et à Sir Don. Je ne savais que j’allais rencontrer des calypsoniens d’une telle envergure. Je remercie Ayélévi Novivor pour son soutien efficace. Et mes remerciements chaleureux vont à mon directeur de thèse, Mr ELBAZ Gilbert. 3 Résumés En dépit de la pléthore d’ouvrages existant sur la Caraïbe, la question spécifique de l’imaginaire à la Barbade et à Trinidad, c’est-à-dire des représentations mentales collectives qu’ont des individus partageant un même territoire, ne semble pas avoir été abordée et paraît intéressante à explorer, particulièrement à travers la curiosité d’une Caribéenne francophone, partageant une même histoire mais vivant une réalité politique et culturelle différente. Si on considére Trinidad, société multiethnique et multiculturelle et Barbade, racialement et culturellement plus homogène, on note que ces deux îles, proches géographiquement, sont deux mondes à part, dans leur imaginaire. Pourtant, à première vue, on pourrait penser qu’elles vivent une même réalité. En fait, pour comprendre leur évolution et leur fontionnement, il faut tenir compte de l’histoire, de l’héritage colonial, de la composition de la population et de bien d’autres facteurs comme la religion, la musique etc… Pendant des siècles, l’antillais, cemétis culturel a été façonné à travers le contact de diverses influences. Barbade et Trinidad onr dû attendre les années 1970 pour avoir une nouvelle identité à travers le Black Power venant des Etats-Unis et du mouvement Rastafari originaire de la Jamaique. De plus, l’influence de la TV et de la musique américaines associées aux migrations et aux effets de la mondialisation constitue les éléments majeurs qui vont contribuer à l’émergence de cette nouvelle identité. La question qui se pose ici concerne l’évolution de l’imaginaire à travers la musique, la danse et le contexte carnavalesque de 1995 à nos jours.Aujourd’hui après plus de cinquante ans d’indépendance, il y a une timide appréciation de la culture locale. Timide, parce qu’à la radio, on entend plus de la musique internationale (américaine, anglais) que de musique locale (calypso, soca) sauf pendant le Carnaval de Trinidad et le Crop Over de Barbade. Ce que regrettent les calypsoniens qui reprochent aux radios locales de ne diffuser cette musique que pendant cette période carnavalesque. De la musique caribéenne, les jeunes de Barbade et de Trinidad plébiscitent le reggae, la dancehall, le raggasoca, la musique soca. Cependant, à Trinidad, la musique indienne joue un rôle important qui correspond au peuplement du pays. Les concepts de culture, de métissage culturel, d’imaginaire, d’interculturalité, de diaspora, de musique, d’acculturation, de mondialisation et de créalisation sont nés de la rencontre de 4 différentes cultures dans cet espace géographique qui ont faconné ces sociétés ajoutés aux théories postcoloniales, sont les outils qui permettant cette analyse. Puis, de nos jours, les nouvelles technologies accentuent les effets de la mondialisation et de la créolisation et contribuent à l’émergence d’une ‘dé-créolisation ’ pour reprendre les termes de G. Létang et d’une nouvelle identité. Mots-clés : Culture ; Imaginaire ; Interculturalité ; Mondialisation ; Créolisation ; Calyso ; Diaspora ; Métissage Culturel ; Décréolisation 5 Abstract In spite of the many books which exist about the Caribbean islands, the specific issue of the imaginary in Barbados and Trinidad hasn’t been approached and looks to me very interesting to be explored, particularly through the curiosity of a Caribbean French speaking woman sharing a same history but living a different political and cultural reality. If we consider Trinidad with a multiethnic and multicultural society, racially and culturally more homogenistical, we notice that these islands, very close geographically, are two worlds apart, in their imaginary. First, in the first sight, we could think they share a same reality. In fact, we must understand their evolution and how they work through their history, their colonial legacy, their population and many other factors.. For centuries, the West Indian, this cultural mixed-up has been fashioned through the contact of numerous influences. Barbados and Trinidad have to wait for the years 1970to have a new identity through the influence of the Black Power coming from the United States and the Rastafari movement from the Jamaica. Moreover, the influence of TV and American music associated with the migrations and the effects of globalization constitute major elements to the shaping of this new identity. The issue is here the evolution of the imaginary through music, dance and Carnaval from 1995 to today.Today after more than fifty years of independence, there is a shyasseessment of the local music. Shy, because on the radio, there is more international music (American, English) than local music such as calypso and soca except during the Carnival season and Barbados Crop Over.The calypsonians regret this absence because they are reproaching the local radios with playing that music only during that period.The teenagers from Barbados and Trinidad are fond of reggae, dancehall, raggasoca, and music soca. In Trinidad, the Indian music plays an important role which corresponds to the population of this island. The concepts of culture, the mixing of cultures, imaginary, interculturalité,diaspora, acculturation, globalization and creolization were born from the meeting of different cultures in this geographical place which have made up these societies. Then we have to add to these concepts, the theories of postcolonial theories. Nowadays, the new technologies accentuate the effects of globalization and creolization and contribute to the rise of a ‘de-creolisation’ after the terms of G.Létang. 6 Keywords : Culture; Imaginary; Multiculturism; Globalization; Creolization; Calypso; Diaspora; The Mixing of Cultures;‘Décréolisation’ 7 Table des matières INTRODUCTION ............................................................................................................................... 10 L’état des lieux .......................................................................................................................... 11 Thèse ......................................................................................................................................... 16 Méthodologie............................................................................................................................. 18 1-BARBADE ET TRINIDAD : UNE RESSEMBLANCE EN TROMPE L’ŒIL ............................................... 24 2-DES SOCIETES CREOLES A LA BARBADE ET A TRINIDAD .............................................................. 33 3-LE ROLE DE LA RELIGION DANS CES ILES ..................................................................................... 45 4-ÉVOLUTION DE LA CULTURE POPULAIRE A BARBADE ET TRINIDAD ............................................ 53 4.1.1-De l’époque coloniale au soca ..................................................................................... 53 4.1.2-Le parang ..................................................................................................................... 54 4.1.3-Le calypso .................................................................................................................... 54 4.1.4-Le commentaire politique ............................................................................................ 62 4.1.5-Le dub ........................................................................................................................... 66 4.1.6-Le SIDA .......................................................................................................................
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