I belong to the Haitian music discourse community. This music originates from the French phrase ā€œcompas direct,ā€ which literally translates to direct compas. But in creole, itā€™s known as konpa. This music has been created in Haiti in the 1960s. The sound of this music is like merengue but has its root in African drums and big bands with horns blaring. This style of music faced problems. The first issue: Almost all the music of Haitian compass is written in creole, and through the world, there are not many countries where they speak creole in the world, so many people are not going to understand the words, so this music has a lot of problems to cross the borders.
The second issue: Haiti is a not part of the developing countries; many people do not have a job that means when an artist made an album Haitian compass, this album of music will be in trouble to be sold because some Haitians do not have money to buy it, and they often copy this music. These kinds of issues are central to the Haitian music discourse community.
Despite the lack of money, there is some catchphrase that continues to arise connected to this discourse community: Haitian people love their music a lot, they help one another to create new music to expand the repertoire of Haitian music.Regarding the problem, many solutions have been tried: first of all, we have to take off the language barrier by promoting creole language that will help the Haitian music access the American market for longer. For many years Haitian music is present in the USA through Labor Day, which is a music activity organized in New York City, especially in Brooklyn, where many countries perform. Haitian music is one among them.
Finally, it is necessary to create an agency in Haiti to protect the works of artists (Copyright). With this agency, nobody will copy the work of artists. Everywhere in the world, this agency exists, but in Haiti, this instance, commonly called Copyright, does not exist; the artists are left by themselves.