Overview:
The Zouboulou Kole Zo (ZKZ) theater group recently presented a play titled “Respect Your Parents,” using humor and drama to encourage Haitian youth to heed parental advice and warn families of the consequences of neglecting responsibilities.
PORT-DE-PAIX — On Sunday night, Oct. 6, families filled the amphitheater at Terrasse des Arts in Port-de-Paix, seeking a rare moment of joy and comfort amid Haiti’s deepening crisis. The air buzzed with anticipation as Zouboulou Kole Zo (ZKZ), the city’s renowned theater company, took the stage to perform its signature play, Respekte Paran W (“Respect Your Parents”). In a vivid display of Haitian theater’s enduring cultural relevance, the production blended humor and tragedy and tackled a pressing issue facing Haitian families: the erosion of respect for parental authority among the nation’s youth.
Through humor, drama, and relatable scenarios, the satirical play delivered a stark message about the
dangers of defying parental guidance.
The theater company, created in 1997 by a group of students involved in sociocultural activities, highlighted the ripple effects of rebellion. Actors address issues from dropping out of school to early teen pregnancy and strained family ties, as they sought to bridge the gap between generations.
Additionally, the ZKZ’s performance aimed to illuminate the struggles of modern Haitian families in the era of new communications technologies, particularly the influence of social media.
“Watching the ZKZ’s actors inspires me to always be submissive to my mother’s advice. She is full of wisdom, constantly guides me to do good things in society, and encourages me to be useful to our immediate community and beyond.”
14-year-old Nerlande Lubin, an attendee at the Terrasse des Arts cultural center in Port-de-Paix
Actor Kervens Eugène, one of the main characters, explained the inspiration behind the play.
“The idea to address this subject came from observing today’s youth,” Eugène, 37 told The Haitian Times.
“Many disregard their parents’ advice, prioritizing activities that don’t contribute to their growth. This play reminds children and parents alike of the importance of respect and guidance,” Eugène continued.
The story features Katiana Lazard, playing Flora, a teenage girl who ignores her parents’ warnings and begins a secret relationship with Zoulout, a classmate whose real name is Lucbens Vincent. Flora becomes pregnant and is cast out of her home.
His boyfriend, Zoulout, convinces his parents to accept Flora’s move to their home with him. However, it did not take long for Flora to become undesirable to Zoulout’s family. Due to her disrespectful behavior, Flora is eventually expelled from the house. She is incapable of complying with the living arrangements agreed upon. Left homeless, she struggles through her pregnancy until her parents reluctantly take her back.
“Flora’s journey is a cautionary tale,” said Eugène, acting under the stage name Ton Pè Zo. “It shows how rebellion can ruin a young person’s future and strain family support and relationships.”
Audience reactions amid broad call for actions
The performance resonated with many in attendance, parents and children alike.
“I am happy that I came with my three children to see this play,” rejoiced Yanick Etienne, a mother in the audience.
“I am grateful for the message it delivered. Parents must guide their children and teach them positive moral values, including respect. Children need to understand that their actions today shape their future,” Etienne said.
Nerlande Lubin, 14, shared how the play reinforced her own values.
“Watching the ZKZ’s actors during the play inspires me always to be more considerate of my mother’s advice,” she said.
“She always guides me to do good things in my life and society and to apply family values wherever I go. She inspires me to take school and my studies seriously. I hope to be a great woman— a model someday.”
The play also served as a critique of broader societal issues, from lack of parental guidance to the country’s ongoing struggles with rampant gang violence on the most vulnerable people, including a recent surge in assaults on girls and women.
According to a joint report published on Nov. 20 by the Institute of Social Welfare and Research (IBESR) and the United Nations Children’s Fund (UNICEF), gender-based violence cases have increased by 1,000% in Haiti.
“The majority of gang members in Haiti are young people,” actor Eugène observed. “Above all, the insights one can draw from the play are a call for parents to take responsibility for their children and for youth to respect their elders. The future of Haiti depends on the next generation.”
Culture experts echoed the importance of art in national development.
“Far from being an obstacle to modernization, culture is the key to progress,” said American sociologist Stephen Yeh from the International Theatre Institute, an organization linked to the United Nations Educational, Scientific and Cultural Organization (UNESCO).
Yeh pointed to countries like Japan, Taiwan and Singapore, where theater has played a pivotal role in societal growth.
Other experts underscore the psychosocial support aspect of a theatrical performance like the one at Terrasse des Arts. They say it can help prevent and relieve moral injuries from disasters or violent events, emphasizing comic performance’s therapeutic and cathartic nature and vocation.
UNESCO encouraged and supported similar initiatives in Port-au-Prince after the 2010 earthquake. The organization used comedians from the Zhovie theatrical group to offer victims, particularly young people, a therapeutic moment and a form of social cohesion. It aimed to restore a sense of normality among displaced families despite the difficult living conditions in the camps.
Reviving Haitian theater
Haitian theater has experienced periods of growth and decline since its introduction by the French during the colonial era.
According to historian Jean Fouchard, the theatrical genre became “the most popular entertainment” in colonial Saint-Domingue during this period.
The origins of Haitian theater date back to the 1740s in Cap-Haïtien, then known as Cap-Français, where performances took place in improvised venues. Over time, the art form spread to other cities, including Port-au-Prince, Saint-Marc, Léogâne, Les Cayes, Jérémie, Petit-Goâve, and Jacmel.
The art form flourished before Haiti’s independence in 1804 and persisted into the 20th century, becoming a platform for cultural and political expression, as writer Paula Clermont Péan put it in her text “Cultural Life and Theater of 1804 -2004: shadow side, light side” published on AFRICINE.org.
However, modern challenges, including political instability and gang violence, have stifled its progress.
In Port-au-Prince, theatrical activities have nearly disappeared due to insecurity, but in Port-de-Paix, groups like Zouboulou Kole Zo are reviving the tradition.
“Theater is a powerful tool for addressing societal issues,” said Eugène. “We hope to inspire change through stories that reflect the struggles of Haitian families.”
The group’s message is clear: Fostering respect within families is essential for addressing Haiti’s broader challenges, the actor outlined. ZKZ wants its talented actors and playwrights to bring vibrant local flavors to its comedies to captivate audiences.
“Theater must remain alive in Haiti, especially in the Northwest,” group leaders added. “It is our duty to pass down this tradition to future generations, ensuring that our stories inspire a better tomorrow.”
