Fred Thomas was born in Fort-Liberté, Haiti. He started to draw at an early age, reproducing sketches created by his father. By the sixth grade, he was already a freelance commercial artist designing seasonal greeting cards, promotional posters, and banners.
Since Fred’s artistic career began, he has participated in countless art exhibitions throughout the United States and abroad. His works currently belong to a number of prestigious collections throughout the known world.
Fred’s earned a BA in Religion and Philosophy and a master’s degree in psychology. However, art remains the passion of his life. Since 2009 he has devoted himself completely to promote his artistic career and, subsequently, has become a prolific artist and a noted art curator.
When Fred is not painting or showing his work at various galleries, he enjoys spending time with his family or writing poetry, short stories, and art criticism.
Fred co-wrote with Christian Nicolas (Kristo Art) a seminal art book entitled, Here, There and Beyond: The Works of Sixteen Haitian Artists Living in Florida.
Haitian-American singer/composer/arranger Pauline Jean is a multicultural artist whose repertoire incorporates rhythms of the African Diaspora with elements of jazz, world and western contemporary styles. Pauline sings in English, French and Creole, and offers her distinct approach to every song. She is a dynamic component of the new Haitian Jazz movement in New York, which is now reaching an ever-growing worldwide audience.
Pauline has been favorably compared to well-known vocalists, but through her confident ability has developed her own voice. “She invokes hornlike sounds, with shades of tones and phrasings that go well beyond just singing the lyrics” (All About Jazz). She also has developed popular tribute programs involving great women in the jazz/world genres. She is especially met with enthusiastic applause when she offers her heartfelt and thoughtful performances honoring Nina Simone and Toto Bissainthe. Her concerts, versatility and well-conceived debut recording are very impressive and stay with the listener.
Pauline has successfully proven her abilities as a performer and bandleader. She has traveled to Russia, Lebanon, Switzerland, Finland, United Kingdom, Haiti, Dominican Republic, and Nevis Island. Between international and local engagements, Pauline has performed at the Blue Note, the Iridium and at Lincoln Center in New York, among other venues.
Pauline Jean Photos
In early January of 2011, Pauline participated in the momentous “Sa’k Pase Ayiti” recording project by joining various prominent Haitian artists to commemorate the first anniversary of Haiti’s catastrophic earthquake. She was also invited to perform at the 5th Edition of the Festival International de Port-au-Prince in Haiti where she received great praise for her workshop and her soul stirring performances. The Haitian press described Pauline as “a black diamond with a magnificent voice.”
Pauline recently toured Russia, where she was the first vocalist/arranger to perform Afro Haitian Jazz. The Russian press wrote, “When Pauline appeared on stage, the energy was just an extraordinary force. Owner of incredible voice… it was she who showed a new approach to classic jazz, by adding elements of Afro-Haitian music” (Vedom News). Pauline is scheduled to return to Moscowin March 2012 to perform at the Tchaikovsky Concert Hall.
Pauline holds a BM in jazz vocal performance from the Berklee College of Music.
Her debut CD “A Musical Offering” was released in 2009 to great acclaim. She is currently preparing for her second recording that will introduce interesting arrangements and new compositions.
Before Jimmy Moise moved from Haiti to Florida twelve years ago, he was a senior air traffic controller with the National Office of Civil Aviation. Now, he works as an interpreter and translator for compatriots who have yet to speak English. In addition, Jimmy is immersed in a project conceived with preserving Haitian culture in mind: Le P’ti Club. Through this brainchild, Jimmy promotes Haitian music and other art forms. “We have to preserve our culture for future generations,” he says. Read the InnerVIEW.
“Woy! Ou gen kisa? Ou gen yon ti mennaj? Kote fout matinèz la? M ap fout fè w rete trankil, tande! A la traka!”— Madame Entèl
Many in the Dyaspora left Haiti at too young an age to have celebrated Valentine’s Day properly. At fourteen, sixteen, or even eighteen, parents did not allow their daughters to entertain certain. . .thoughts. There was no such thing as dating—certainly not the kind that goes on now. If you knew what was good for you, you did not utter the word boyfriend or girlfriend—unless you were certain your secret would be safe. If you were caught talking to a member of the opposite sex who was not a relative, there would be mountains of explaining to do. And still, love thrived.
Elizabeth LaFrance said: “February 14th was a day for lovers to show their true colors: If you were involved in a romantic relationship (and you were happy about it), you wore something pink. If you were very happy, you wore red. If you were not taken but hoped to be, you wore the color green. If a boyfriend or girlfriend put your heart in a slingshot, you wore yellow. Yellow is for betrayal. Trayizon.”
A widower might wear a black or a white paper rose in his lapel. Depending on the situation, a widow wore a garland of red roses in her hair (and draped left-over flowers along the front porch).
Martine Vassor put it this way: “It didn’t matter how much money someone had. People celebrated love. Of course, we did. We do. Those who could buy breathtaking bouquets and chocolate for their betrothed flooded the stores. Others ‘borrowed’ blooms from nearby fields. Lovers ran far and fast to find one another.”
One Chance. One Dance.
Love can make you run—in one direction or another.
Love can make you run.
Love can stop you from downloading that book, and make you run to a bookstore to hear your favorite author read. You’ll run to the music place for that new song, too. Wait, do they still have music stores? Okay. . . Love can light a fire under your feet, and take you to that kitchen for that one special dish. Love can put you inside that airplane and take you home. This time to stay. You don’t know love until you know Ayiti.
And there’s no App for that.
The original prenuptial agreements were carved on tree bark with two names inside carefully drawn hearts; arrows shot through those hearts, warning potential happiness-wreckers to watch their bones. Wi, malfezan, veye zo w!
She/He’s mine. Mine. Mine. Mine . . . Folk used that word then, and no one got offended. That’s just how it was. He/She’s mine. Mine. Mine. . . even before the preacher said: What God has joined together let no man put asunder.
Fred Thomas was born in Fort-Liberté, Haiti. He started to draw at an early age, reproducing sketches created by his father. By the sixth grade, he was already a freelance commercial artist designing seasonal greeting cards, promotional posters, and banners.
