Hiragasy

Hiragasy or hira gasy (hira: song; gasy: Malagasy) is a musical tradition in Madagascar, particularly among the Merina ethnic group of the Highland regions around the capital of Antananarivo. It is a day-long spectacle of music, dance, and kabary oratory performed by a troupe (typically related by blood or marriage and of rural origin) or as a competition between two troupes. ²

The tradition in its contemporary form began in the late 18th century when Merina prince Andrianampoinimerina first used musicians to draw a crowd for his political speeches (kabary); these troupes became independent, and began to incorporate political commentary and critique in their performances. The audience plays an active role at hiragasy events, expressing their satisfaction with the talent of the troupe members and the message they proclaim through applause, cheers or sounds of disapproval. Hiragasy troupes were used during the French colonial administration to communicate decrees and other information to the rural population in the Highlands, and as such troupe members were exempt from the forced labor requirements imposed on all other Malagasy. After independence from France in 1960, the hiragasy troupe was held up as an icon of traditional Malagasy culture, and began to find greater popularity along the coasts, although performances remain largely concentrated in the Highlands. Aspiring politicians routinely hire hiragasy troupes to attract a crowd for their political speeches while campaigning. While most troupes remain apolitical, some have opted to throw their support behind particular candidates to spectacular effect, as when former hiragasy member-cum-popstar Rossy authored his 1995 song "Lera." The song was critical of the Zafy regime and was picked up by hiragasy troupes, who performed it across the island; the popularity of this song played a key role in mobilizing popular support for Zafy's impeachment. The most famous troupe is Ramilison Fenoarivo, Rossy's former troupe and staunch supporter of ex-President Didier Ratsiraka. ²

The performance of the hiragasy follows a number of conventions, such that there are certain similarities between the 80+ troupes currently performing in Madagascar. Among these are the order in which songs, dances and oratory are performed; how troupes are named (after the last name of the founding member and his/her town of origin); what costumes are worn (men typically wear straw hats, red coats and pants inspired by 19th century French military garb, and matching lamba cloth sashes; women wear identical dresses designed after the style popular among ladies of the court during the Imperial period); and which instruments are used. Traditional instruments are not common at hiragasy performances, due to the origins of the performance with the royal court, where European influences reigned. Instead, the most common instruments are violins, trumpets, and snare and bass drums; the sodina, accordion, kabosy or clarinet may occasionally make an appearance. ²

Hiragasy follow a specific structure under the direction of the troupe leader who is often the oldest member and responsible for the presentation of kabary. 1. The Sasitehaka: Over the course of approximately ten minutes, the male members of the troupe settle in the middle of the crowd of spectators as the snare and base drummers beat an accompanying militaristic rhythm. The women are often to the side, completing their wardrobe and makeup. 2. The Mpikabary (Making Kabary): One of the artists, often the troupe leader or oldest member of the group, will typically take off his straw hat and formally announce the beginning of the spectacle. ²

The text above is adapted from the Wikipedia article “Hiragasy”, available under the Creative Commons Attribution-ShareAlike 4.0 licence. ²

Hiragasy is performing art composed of song, dance and speech, originating in the central highlands of Madagascar, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition. ¹

The source record links this tradition to 3 external registers, which can be verified through the citation. ¹