Port-de-Paix cultural group marks 12th anniversary with play highlighting youth view of Haiti 

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EADL celebrates 12 years of coaching youth by means of dance, theater, and Haitian cultural storytelling

PORT-DE-PAIX— For its twelfth anniversary, the École d’Apprentissage de la Danse Latine (EADL) offered “Kafou 12, Ayiti, Paradi Perdu,” or Kafou 12, Haïti Misplaced Paradise. This theatrical manufacturing blends folklore dance, music, and theater to point out how Haitian youth view their nation and their function in preserving tradition.

The efficiency introduced collectively college students and artists who used motion, sound, rhythm, and on a regular basis scenes to discover Haitian traditions, work life, and social struggles. Relatively than specializing in a single storyline, the manufacturing unfolded by means of quick scenes impressed by conventional folklore rhythms, and widespread dance kinds like konpa, salsa, bachata, and merengue. 

By way of a collection of musical scenes, the manufacturing displays on a regular basis Haitian life—small companies, peasant traditions, ethical values, and social struggles—whereas contrasting photos of the nation’s previous with present-day socio-political realities.

“By referring to a as soon as peaceable and tranquil Haiti, we are able to now clearly see that the paradise Haiti as soon as was is misplaced,” Santhia Mérice, an artist and common secretary of EADL stated “We needed to point out how a lot has modified.”

Past konpa—Haiti’s signature music style created by Nemours Jean-Baptiste within the Nineteen Fifties—EADL additionally trains its college students in salsa, bachata, and merengue, providing a broad method to bop schooling. Mérice stated the college’s objective is to help younger folks by combining inventive coaching with social and cultural studying.

For a lot of younger viewers members, the efficiency sparked curiosity in becoming a member of the group. Different spectators additionally noticed the manufacturing as a method to information younger folks towards artistic expression.

“After watching EADL’s dance reveals on TV, I actually need to be a part of so I can study poetry, dancing, and theater. I’m going to ask my dad,” stated Stanley Antoine, a 10-year-old boy.

“Cultural actions like theater can provide another path for youth, Dodly Aristide, 22, stated. “The nation wants extra performances that showcase Haitian tradition. Younger folks ought to make investments their time in cultural actions as an alternative of falling into delinquency.”

The manufacturing “Kafou 12” Ayiti: Paradi Pèdi,” or Kalfou 12, Haiti Misplaced Paradise, was designed to deliver collectively youth from completely different inventive backgrounds and encourage them to worth Haitian tradition by means of efficiency, Mérice stated. The manufacturing was developed in collaboration with a number of artists and theater teams, together with High Akabi and Roi Willy, with help from EADL instructors and administrators.

During the production of “Kafou 12, Haiti Paradis Perdu,” or Kafou 12, Haiti Lost Paradise, on December 20, 2025, young actors and artists from the EADL theatre group are seen rapping and beating drums to highlight Haitian Vodou — a tradition that is slowly fading. Through this scene, they revive and revalue this musical expression often used in vodou ceremonies to call upon the loas and spiritual spirits. Photo by Kervenson Martial for The Haitian Times.
In the course of the manufacturing of “Kafou 12, Haiti Paradis Perdu,” or Kafou 12, Haiti Misplaced Paradise, on December 20, 2025, younger actors and artists from the EADL theatre group are seen rapping and beating drums to focus on Haitian Vodou — a practice that’s slowly fading. By way of this scene, they revive and revalue this musical expression typically utilized in vodou ceremonies to name upon the loas and non secular spirits.
Picture by Kervenson Martial for The Haitian Occasions.
Performers staged a peace protest during the production of “Kafou 12, Haiti Paradis Perdu,” or Kafou 12, Haiti Lost Paradise,” on December 20, 2025. They hold placards reading “Aba Lanmò” and “Aba Baboukèt” and send messages of peace and opposition to censorship and violence in Haiti. Photos by Kervenson for The Haitian Times.
Performers staged a peace protest through the manufacturing of “Kafou 12, Haiti Paradis Perdu,” or Kafou 12, Haiti Misplaced Paradise,” on December 20, 2025. They maintain placards studying “Aba Lanmò” and “Aba Baboukèt” and ship messages of peace and opposition to censorship and violence in Haiti. Images by Kervenson for The Haitian Occasions.
A stage scene during the production of “Kafou 12, Haiti Paradis Perdu,” or Kafou 12, Haiti Lost Paradise, in which actors use jugs, sticks, and tires to depict demonstrations, showing how citizens demand action in the face of political inaction and social challenges. Photo taken on December 20 by Kervenson Martial for The Haitian Times.
A stage scene through the manufacturing of “Kafou 12, Haiti Paradis Perdu,” or Kafou 12, Haiti Misplaced Paradise, through which actors use jugs, sticks, and tires to depict demonstrations, displaying how residents demand motion within the face of political inaction and social challenges. Picture taken on December 20 by Kervenson Martial for The Haitian Occasions.
One of the performers held a sign reading "Aba baboukèt," a Creole expression denouncing how Haitian leaders act solely in their own interests, failing to address the needs of the majority of the population. As the crisis worsens day by day, the authorities—unable to provide real solutions—also seek to silence any critical voices within the community. Photo courtesy EADL.
One of many performers held an indication studying “Aba baboukèt,” a Creole expression denouncing how Haitian leaders act solely in their very own pursuits, failing to handle the wants of nearly all of the inhabitants. Because the disaster worsens day-to-day, the authorities—unable to offer actual options—additionally search to silence any vital voices throughout the neighborhood. Picture courtesy EADL.
Stéphanie Vincent, a member of the play “Kafou 12, Haïti Paradis Perdu”, with a basket on her head plays a role to highlight the traditional role of Haitian women vendors, who carried their goods to the market in such baskets. This practice remains a strong symbol of the role of women in the trade and goods open market. Photo courtesy EADL
Stéphanie Vincent, a member of the play “Kafou 12, Haïti Paradis Perdu”, with a basket on her head performs a task to focus on the standard function of Haitian ladies distributors, who carried their items to the market in such baskets. This apply stays a robust image of the function of ladies within the commerce and items open market. Picture courtesy EADL
The artists dress up as various characters representing Haitian society—vendors, doctors, teachers, farmers—highlight everyday struggles in contemporary Haiti, during the performance of “Kafou 12, Haiti Paradis Perdu,” or Kafou 12, Haiti Lost Paradise, on December 20, 2025. Photo by Kervenson Martial for The Haitian Times
The artists gown up as varied characters representing Haitian society—distributors, medical doctors, lecturers, farmers—spotlight on a regular basis struggles in up to date Haiti, through the efficiency of “Kafou 12, Haiti Paradis Perdu,” or Kafou 12, Haiti Misplaced Paradise, on December 20, 2025. Picture by Kervenson Martial for The Haitian Occasions



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