Fabrice Rouzier, the acclaimed Haitian musician and producer, has filed a lawsuit against French-Haitian artist Joe Dwet Filé, alleging unauthorized use of the beloved song “Je Vais.” At the heart of the dispute is Rouzier’s claim of authorship and creative ownership of a track that has become a cultural touchstone since its release in the early 2000s.
While the lawsuit has sparked debate about the song’s origins—particularly its ties to Haitian oral tradition—the full story reveals a rich collaboration involving Rouzier, the legendary troubadour group Les Frères Dodo, and material popularized by the late comedian Ti Bato Blageur. This is not merely about folklore—it’s about creative transformation, authorship, and preserving Haitian identity through music.
The Song’s Roots: From Oral Tradition to Musical Innovation
Emerging in the 1980s, Les Frères Dodo were pioneers in turning Haitian oral literature into structured troubadour songs, using acoustic instruments to share stories, proverbs, and comedic sketches through music. One of these inspirations was “Je Vais”, a song that evolved from street storytelling and daily life in Port-au-Prince.
Years later, Rouzier—who had a close personal friendship with Ti Bato—introduced the comedian’s iconic “4kanpe” joke into the musical conversation. He joined forces with Les Frères Dodo to rework the idea into something entirely new. Rouzier didn’t simply replicate the sketch—he expanded it with original lyrics, modern arrangements, and a fresh melodic direction. The result was a polished version of “Je Vais” that became a hit in Haiti and throughout the diaspora.
Les Frères Dodo’s Legacy and Rouzier’s Vision
While Les Frères Dodo laid the cultural foundation through their earlier interpretations, it was Rouzier’s production in the early 2000s that brought the song into its modern form. He introduced contemporary compas elements, restructured the rhythm, and collaborated with the group on a professionally produced music video. This wasn’t just an adaptation of oral tradition—it was a reinvention with mass appeal.
Legal experts emphasize that music encompasses more than melody and lyrics. It includes arrangement, rhythm, instrumentation, performance, and production. Rouzier’s contributions in all these areas solidified Je Vais as an original work, rooted in tradition but elevated through innovation.
Cultural Trust and Creative Agreements
In Haiti, collaboration is often built on verbal agreements, mutual trust, and shared cultural understanding. Rouzier’s long-standing relationships with both Les Frères Dodo and Ti Bato’s family suggest a creative partnership founded on respect. The absence of disputes for over two decades supports the notion that all parties consented to the song’s evolution.
This informal yet deeply respected system reflects a long-standing norm in Haitian artistry—where mutual respect and shared cultural purpose take precedence over legal formalities.
Copyright Protection: Haitian and International
Some have noted that Rouzier registered “Je Vais” in the United States only in February 2025. However, the song has long been protected under Haitian law through the Bureau Haïtien du Droit d’Auteur (BHDA). Haiti’s membership in the Berne Convention extends these protections internationally, meaning Rouzier’s rights have been valid long before any U.S. filing.
The fact that Je Vais has circulated publicly for years without legal objection reinforces Rouzier’s widely acknowledged authorship within both Haitian legal and artistic circles.
Defending More Than a Song
This lawsuit isn’t simply about royalties. It’s about credit, cultural respect, and setting a precedent for how traditional material can be honored and protected in contemporary music. While Joe Dwet Filé has carved out his own respected place in modern compas, using Je Vais without authorization calls into question the rights of creators who build new works from traditional roots.
Rouzier’s stance is not only about defending a song—it’s about defending the value of cultural craftsmanship in the global music industry.
A Call for Unity and Cultural Responsibility
Amid the legal complexities, there remains a sincere hope that both Fabrice Rouzier and Joe Dwet Filé can reach a respectful resolution. Both artists represent Haiti’s musical richness—one grounded in tradition, the other shaping its global voice. They have a shared responsibility to honor and uplift the culture they represent.
As surviving members of Les Frères Dodo remain active, and the family of Ti Bato Blageur continues to live in Haiti, any settlement or compensation should also reflect their invaluable role in shaping Je Vais / 4kanpe into a cherished cultural anthem.
Je Vais is more than just a song—it is a testament to Haitian ingenuity, resilience, and artistic identity. Through collaboration, creativity, and cultural reverence, Fabrice Rouzier transformed a piece of folklore into a global musical narrative. By asserting his rights, he defends the contributions of countless Haitian artists who build bridges between past and present.
May this moment serve not as a division, but as an opportunity—one where recognition, reconciliation, and respect guide the future of Haitian music. Together, with unity and vision, the artists of Haiti can continue to inspire the world.
Samuel Georges
