"Who wants Zouk to die?" or the time-wasting debate
On October 13th, 2023, I had a good laugh reading the article “Le Zouk, un roi sans couronne” (Zouk, a king without a crown) published by the website Views. Their Spotify playlist featured barely a third of Afro-Caribbean artists and no recent song from them—okay, we get it. However, I laughed less when I noticed that the author had a 972 in their social media username. In fact, it worried me because, once again, people from outside our community are portraying us as incompetent individuals who have had their music stolen by others. We’re used to this. However, I do wonder when our journalists and content creators do the same. Especially for our Zouk, which, I repeat, has been doing well since 2020. This story that Caribbean Zouk is dead, who exactly benefits from it?
This is an excerpt from the introduction to my “Myths surrounding Caribbean artists” series, which I published between November 2023 and July 2024. On October 13th, 2025, Arte Tracks aired an episode called “Who wants Zouk to die?” Beyond the coincidence of the dates, there’s no coincidence on the subject, since it is the same journalist who continues to fuel the pessimistic, defeatist discourse about our Zouk. Yet, I thought we had finally left that perspective behind in 2023. Indeed, between the success of Joé Dwèt Filé, urban pop artists releasing a Bouyon single, our artists obtaining Gold certifications, the success of “Zion” in movie theaters... It was difficult to continue to spit on the “Antilleans” during the 2024-2025 season. Even producer-artist Kaysha toned down his comments about our artists compared to what he said in 2020-2021. In the media, the first half of 2025 was therefore quiet... Too quiet, apparently, because the 2025-2026 season started off strong.
With over 90,000 views and more than 500 comments on YouTube in just ten days, this episode of Tracks reflects the ambivalence surrounding Zouk that I analyzed at length in “Les mythes autour des artistes antillais” (Myths surrounding Caribbean artists) in 2024. People swear they love Zouk and are quick to defend it when it gets criticized, but when it comes to describing the qualities of Zouk, the pleasure it brings us, and the technical skill it requires, they stumble over their words, even though they can talk for hours about hip-hop or R&B. Like the “Bouyon: transgression at 160 BPM” documentary posted online a year ago, or “How the Shatta wave flooded the charts” documentary available since February 2025, this new episode of Tracks once again fails to promote our music and our artists. However, I wanted to keep an open mind because Tracks had produced a good documentary on Maloya 2.0 from Réunion island almost exactly a year ago in 2024. All the contributors to the documentary were keen to develop Maloya by incorporating other influences. They all claimed to be part of Maloya. I thought that perhaps this episode, “Who wants Zouk to die?”, would take a similarly positive approach. Spoiler alert: this was not the case at all. By using the same words as the people of Réunion island to express their cultural pride and the importance of continuing to create from our roots, our artists don’t convey the image of wanting to develop Zouk at all... One could say that it's because of the editing, I get it. But still...
Unless I’m mistaken, the writer-director of this episode of Tracks is the same person who created the problematic “Caribbean” content of Views over the past two years. After “Le Zouk, roi sans couronne” (Zouk, crownless king) in 2023 (see their X thread), he wrote the article “Theodora, emprunter au Bouyon pour mieux l'exporter” (Theodora, borrowing from Bouyon to export it better) in 2024 (see the X thread). He uses the biased objectivity technique to share a pessimistic perspective on our achievements and to praise the success of others. As I said in my audio series on “the myths surrounding Caribbean artists,” it was painful to see the French media give us flawed analyses because of their colonial filter, but it's even more painful when it's our own people who recycle the same prejudices without realizing it. This documentary uses the four usual media narrative techniques that I analyzed in my 2024 report “Le Bouyon Gwada, Theodora, Perle Lama... Media training lessons to remember.”
Technique #1 - the off-topic distraction: the issue raised at the beginning of the documentary is “why has Zouk been invisibilized?” and “where does Zouk stand in the Caribbean today?” Only Jocelyne Béroard gives a clear answer to the first question. The other interviewees define themselves as Creole pop artists and only talk about the fact that Zouk isn’t recognized for its true value... Why is there no contributor whose career is focused on Zouk? What's more, in the middle of the documentary, there is a sequence at a Zouk club scene that is supposed to prove that local twenty-somethings have given up on Zouk... One could say that it's because of the editing, I get it. But still... How does that promote Zouk?
Technique #2 - Biased objectivity: biased objectivity here is to present Kassav' with Pierre-Edouard Décimus and Jacob Desvarieux as co-founders, Jocelyne Béroard and Patrick Saint-Eloi as singers, but without mentioning Jean-Philippe Marthély, Jean-Claude Naimro, and Georges Décimus. Biased objectivity here is to talk about “Zouk in the Antilles,” but never pronounce the word Guadeloupe. Biased objectivity here is to limit the discussion to musical developments in Martinique without even mentioning what is happening in Guadeloupe (can we talk about Ji Kann', Tanmpo Klassik?), in French Guiana (what about Fanny J, Saïna Manotte, Lizi?) or even Réunion island (what about MIK'L, Kalipsxau, Léa Churros?). The biased objectivity manifests here by not giving a brief explanation of the link with konpa. In short, the biased objectivity in this documentary is to think that it’s enough to say you’re Martinican, to have grown up listening to Zouk, to have listened to Aya Nakamura, and to cite a single academic article as a source to guarantee a correct analysis. One could say that it's because of the editing, I get it. But still... How does that promote Zouk?
Technique #3 - Right compliment, wrong timing: this documentary should have been called “Creole Pop: Zouk 2.0?”. It's less clickbait than “Who wants Zouk to die?”, I’ll give you that, but at least it's more in line with what the video is highlighting. Apart from Jocelyne Béroard, the other artists featured are all Creole pop artists: Joël Jacoulet, Victor O, and Maurane Voyer... Are we to understand that there are really no local artists between the ages of 20 and 40 who promote themselves as Zouk artists in their own right, and that we have killed our Zouk simply by stopping making it? Joël Jacoulet was described as “a great producer and composer of Caribbean music”... How long has he been active and what are the highlights of his career apart from the album “Créole Pop”? I would make the same comment about Victor O, Maurane Voyer... We know nothing about their careers. And this silence is all the more striking given that the report highlighted Jocelyne Béroard on this point. So yes, the report gives an overview of what Créole pop is, but is it effective in terms of the visibility these artists are seeking? One could say that it's because of the editing, I get it. But still... How does that promote Zouk?
Technique #4 - pushing the imaginary war between Africa and the Caribbean (implying a hierarchy of Africa > Caribbean)
Victor O intervenes only once, saying:
"Normally, we should have been in the place of the Nigerians who took over the branding of Zouk for themselves. Not in a nasty way, it's just business. But in truth, we should have been masters of this global Afropop sound for a long time, which we were for a while with Kassav' and the golden age of Zouk. It should have generated a kind of eternal culture, so there's work to be done to reclaim it."
I really like Victor O's music. I think he's great live... but that's exactly the kind of comment that should have been edited out. Not only because it plays into the media's hands on technique #4, but because it shows a lack of perspective on the current issues we face on the international music scene. Once again, I know people will say it's because of the editing. But still... How does that promote Zouk?
In short, I could criticize every minute of the documentary (literally), but let's stay constructive and make a list of media training lessons to remember.
Lesson #1 - Not all media coverage is positive publicity
If you don't define yourself as a Zouk artist, there's no point in being a Zouk spokesperson by proxy. It's the journalists’ job to find the right people to talk to about the subject they want to cover. In this particular case, perhaps the focus of the documentary wasn't really defined when artists first got contacted... All the more reason to say no when the interview request is vague. It's better to have a few precise digital traces than a bunch of vague ones that don't serve your branding or storytelling.
Lesson #2 - Jocelyne Béroard has mastered her branding and storytelling
Every artist from Guadeloupe and Martinique should study her interviews because she says what she has to say, even when faced with difficult questions. In “Qui veut la mort du Zouk?” (Who wants Zouk to die?), she embodies what it means to know who you are and where you want to go. When she says “I do Zouk,” there is no doubt that she is proud of it. Incidentally, embracing Zouk has never prevented her from exploring other musical genres, just like any other artist. Claiming Zouk as her creative focus is not limiting. On the contrary. So it's up to artists to ask themselves where they got the idea that making Zouk locks them into a demeaning category.
Lesson #3 - A distinction must be made between Zouk and Zouk Love
The documentary uses the terms Zouk and Zouk Love interchangeably, when in fact all the negative criticism of Zouk is actually directed at Zouk Love... And all the positive comments are about Zouk. This requires to be intentional in the words we use, otherwise the statements become contradictory. It’s contradictory to give the example of Maurane Voyer's “Zaboka” as a contemporary Zouk hit like “old-school Zouk” and say that its BPM prevents it from being played at a Zouk party, saying that young people no longer dance Zouk. Indeed, while Zouk Love requires a partner, Zouk à la “Zouk-La Sé Sèl Médikaman Nou Ni” is experienced first and foremost in collective energy. This Zouk also has a right to exist. This is what our audience has been demanding for years, and our artists just don’t deliver. The real question is: even with the success of “Zaboka,” why are our artists in their twenties and early thirties afraid to make this type of artistic proposal on a larger scale?
By the way, Maurane Voyer herself has said in the past that her Zouk (Love) songs did not perform particularly better than her songs in other genres. She always emphasizes her versatility because, for her, “there is no obligation to do Zouk”... But the question we ask ourselves at the end of the documentary is why is making Zouk music seen as an obligation?
Lesson #4 - we must value ourselves without comparing ourselves to afrobeats and amapiano artists
I was surprised that there was no mention of the guitar riff from “Vini Dou” sampled in DJ Hervé Pagez's “Spicy” featuring Diplo and Charlie XCX as an example of the impact of Creole pop on the international scene. If it was mentioned, why was it edited out? In any case, there is no reason to compare ourselves to African artists when we’re talking about our potential to shine on the global scene.
African artists aren’t an example to follow because they don’t control their music industry and remain dependent on American and European structures. Besides, they’re comfortable with Caribbean cultures, so even if we were rivals, they’re above all allies of choice. It is this aspect that should be highlighted, even when the media prefers to push the imaginary feud. I don't know when the report was made, but the example of Burna Boy singing on the remix of Joé Dwèt Filé's “4Kampé” is enough to support this argument of alliance.
Lesson #5 - being clear about your goals
“Zouk never died. It just traveled a lot, diluted itself, and we kind of lost sight of where it went, but it was always there. It’s important that we reclaim it and do something with it. Rather than debating, just do it,” Maurane Voyer says at the end of the documentary. Okay, but who is “we” here? And what exactly should be done? No strategy is mentioned in this documentary. This could be understandable in order to avoid alerting the culture vultures, but the point of an interview is to explain your ambitions and career goals and to show that you know where you want to take the audience.
That's the major difference between Kassav' and other artists. It's not just about artistic creation. There's a marketing intention that dictates business decisions. Pierre-Edouard Décimus had a vision, and he surrounded himself with the best people to make it a reality. He believed in his vision, even when no one else did.
As a reminder, Zouk has only had positive branding in France for the past four years. I don't know if the “activist music” branding will be the most effective in the long term because Kassav's Zouk isn't just festive. It’s music that “touches the soul with its universal appeal,” to quote Joël Jacoulet when he explained that “France” accepts entertainment from the Caribbean only when it makes people dance, laugh, or feel scared. In any case, giving Kassav' this image of “activist music” counteracted the self-denigration in the media in 2021.* Pierre-Edouard Décimus and Jocelyne Béroard created written and audiovisual content that the media could draw on. In the books “Pou Zot” [my review] and “Loin de l'Amer” [my review], in the films “Pierre-Edouard Décimus, le Zouk et la prière des oiseaux” and "Jocelyne Béroard, Mi Tchè Mwen," they explained their artistic vision that enabled them to enjoy a long and successful career. So even if the media misses the mark when talking about Zouk, I doubt they will do so in a disparaging way from now on. Just look at the remarkable about-faces made by journalists and content creators over the past two years. We haven't forgotten.
“Who wants Zouk to die?” lasts only 17 minutes, but here is the journalist's conclusion:
Creole pop draws on Zouk but doesn’t seek to save it (because Zouk needs saving???).
There will be more and more mixed music that resembles Zouk (but what will happen to Zouk? Will it disappear or not?).
“What artists here are asking for above all is that we acknowledge when we are inspired by their music and that we don't forget to name it” (if that’s the case, our level of demand is below the lowest standard).
“For me, there's no rebranding to be done. Zouk is Zouk, it's going to be called Zouk. And that's how it's going to be. It doesn't work when we try to whitewash it...” This is literally the last sentence of the documentary. It is spoken by Maurane Voyer... What is the connection between the conclusion that “others must name Zouk when they draw inspiration from it” and “Zouk must keep its name, it doesn't work when WE try to whitewash ourselves”? I was too shocked by the audacity of leaving this audience with this last statement. In this case, it is really an editing choice. How does this promote Zouk?
that being said…
What the documentary could have done to address the question “Why has Zouk been invisibilized? Why is it taboo?” Apart from asking Dadju directly why he said “I hate Zouk” (just kidding!), it’d have been interesting to give the point of view of:
the French (Afro) media, such as Skyrock, France Culture, Trace, etc., and local media
institutions such as SACEM and SNEP
streaming platforms such as Spotify and Deezer
academics such as doctoral students and lecturers
non-Guadeloupean/Martinican artists who make money from Zouk
“Antillean” producers/beatmakers/DJs who serve the interests of others
artists from our region who, while not calling themselves Zouk artists, release Zouk songs without necessarily being well-known (such as Elowdy C, Alwio, Laconi, etc.)
Can you see all the fresh angles from which we could have approached the subject? Maybe it was planned, but no one wanted to participate... Although I find that hard to believe because there are people in this system who are willing to help, who really want to help us and promote us. They’re making an effort, but they’re at a loss as to how to proceed, especially when we ourselves are unable to say precisely what we need.
For years, our artists have been demanding symbolic recognition, and the media are now using this to continue distracting us from the essential objectives. Our artists want access to the tools to make themselves known to the public, develop their careers, and make a living from their music. Not necessarily in that order. They may be able to line up collaborations with the biggest sellers, rack up certifications, play big concerts, and fill their bank accounts, but that doesn't mean they will be respected, or if they are, it will only be after several decades of accomplishing what few artists achieve. Until then, it's up to each of them to make sure they stay away from bitterness.
final thoughts
I wrote this blog post to document such useless debate, but rest assured, it's normal for there to be documentaries and reports on the death of Zouk because it's a clickbait topic. The Korean media has been predicting the end of Hallyu since 2005, even though data collected by the Ministry of Culture proved otherwise. It's all a matter of perspective and interpretation. The difference is that Korean artists have established their own criteria for evaluating their progress in the international cultural market and have built their storytelling around it. We're still debating whether Zouk is our brand... I suppose that avoids having to think about the content of that brand. Let's not forget that Zouk will celebrate its 50th anniversary in 2029. Perhaps it's time for the media to start documenting the preparations for the celebrations.
*This activist branding for Kassav' further highlights the image of contemporary Zouk as superficial... On the other hand, it may motivate artists to tackle new subjects through the prism of Zouk (Love), as Lorenz did in “La dernière fois” (The Last Time), where he addresses police brutality.