Bouladjel

Written accounts of bouladjèl are few and recent. It is thought to have developed among Guadeloupean enslaved field workers to replicate drumming at a time when the Code Noir forbade them to use drums, and transmitted orally since.[2] In 1988, Lafontaine presented[3] "boula-gueule" as a vocal polyphony performed during funeral wakes. However, although it is nowadays most specifically a funeral singing practice, local oral accounts state that it was also commonly heard outside wakes up to the 1970s (e.g. child play, work, leisure singing...).[1] Indeed, during his 1962 visit to Morne-a-l'eau, Guadeloupe, Lomax recorded[4] bouladjèl in both a funeral context ("Bo! Pati") and a work context ("Adolin Do La").

Bouladjèl is a poly-rhythmic musical form where groups of performers each repeat a distinct & short onomatopoeic pattern of throat sounds, sometimes filtered through hand-formed resonating cavities, to produce complex ostinati together. Though it is considered to be a part of the gwo ka system,[2] traditional bouladjèl excludes the use of musical instruments other than the voice and supporting hand claps. Some sources[1] claim that its underlying base pattern can't be directly mapped to any of the traditional gwo ka rhythms, while others[5] liken it to the pattern known as tumblak.

Ensembles usually comprise two or three individuals to a dozen upwards, in principle all male. They are led by a member called the commandeur de bouladjèl, who signals for the performance to begin with a traditional, spoken statement personalized for each occasion.[1]

At times, performers may also enunciate short comical messages in a rhythmic manner similar to rapping on top of the vocal percussion. In the context of funeral wakes, this stimulates catharsis through laughter as part of the grieving process.[1]

• Susan Marcel Mavounzy mentions<> Gaston Germain-Calixte (aka Chaben) and his 1966 recording titled Zombi baré moin.
• Louis Victoire dit Napoléon Magloire, Senval (1963).
• Alan Lomax, Adolin Dola et Bo i Pati (1962), in 'The French Caribbean: We Will Play Love Tonight' (2004).
• Robert Loyson, Canne à la richesse et Si papa mô (Emeraude EM-026, 1966)
• Gaston Germain-Calixte, Zombi baré moin et Clocotè-la (Emeraude EM 023, 1966)
• Yvon Anzala, Gèp-la (1973) et Ti fi la ou té madanm an moin (Anzala, Dolor, Vélo 1974?)
• Lukuber Séjor, Du premier voyage au retour à ka (1993) et Pawol é mizik kon tilili (2002)
• SOFT, Kadans a péyi-la ( Kryph 2005); Gouté Gwadloup (Aztec Music 2008); Omaj (Aztec Music 2009)
• Rosan Monza, Adyé Vivilo (Debs 2008); Ki jenné ou jenné (Debs 2011)
• Kimbol, Envitasyon (2008)
• David Murray, Yonn-dé (Justin Time 2003), Gwotet (Justin Time 2008) et The devil tried to kill me (Justin Time 2009)
• Jacques Schwarz-Bart, Soné ka-la (EmArcy 2007)
• Kan'nida, Evariste Siyèd'lon (CD Kyenzenn 2000), Nou ka travay (2007), Tayo (2013).
• Hilaire Geoffroy, Réconciliation (2002)
• Cyrille Daumont, La vi sé on kado (2004)
• Indestwaska, 20 Lanné (2013)