Ntlha eo ho buuoang ka eona, hase buka ea molao
Molao oa Motheo oa TimTim.Live
Ke hobane'ng ha morero ona o le teng, e leng seo Mor'abo rōna ea thusang ho se etsa, le kamoo motho leha e le ofe a ka etsang hore o tsoele pele ka lelapa la hae, basebetsi - ' moho, kapa sehlopha sa nakong e tlang sa libapali - ' moho le eena se ka etsang liqeto ka tsela e tšoanang le eo o qalileng ka eona.
Lebaka leo sena se leng teng ka lona
TimTim.Live exists to create joyful Konpa music that connects people, celebrates Haiti, and inspires curiosity about the world.
Through songs, stories, and cultural experiences, this is a living musical journey — not a finished catalog. It's meant to keep growing: new songs, new countries, new collaborators, for as long as anyone wants to carry it forward.
Se boleloang mona ke Mor'abo rōna Mor'abo Rōna
Konpa was created in Haiti in 1955 by saxophonist Nemours Jean-Baptiste, built for one purpose: to get a room full of people dancing together, no matter what else is going on outside.
In this project, Konpa is never just a genre label. It's the Haitian half of a Haitian-American story — Caribbean roots, colored by African guitar and reggae, shaped by decades of American life. Every song should feel like that specific person telling that specific truth, not a generic "world music" pastiche.
Melao ea boitšoaro e tataisang mosebetsi o mocha
Lipale tsa sebele, eseng tse qapiloeng
Pina e ' ngoe le e ' ngoe, leqephe le leng le le leng la naha, ho kena ha buka e ' ngoe ea ho ngolla lintlha ho hlalosa ntho e hlileng e etsahetseng kapa eo ka botšepehi e ntseng e tsoela pele e sa khaotse, ha ho mohla e kileng ea tlala haholo.
Lefa la hae le nkoa e le la bohlokoa, eseng feela le sebelisoang
Nemaurs Jean TaBaptiste le neano ea mofuta ona, nako le nako ha a etsa mosebetsi ona, o alima molumo oo ebe o ikarabella historing ea oona.
Pina e ' ngoe le e ' ngoe ke mpho, hase ntho eo motho a e etsang
Ka linako tsohle tšekamelo ena ke "ea etsang sena o tsebisa motsoalle e mocha kapa motsoalle e mocha " pele ' sena se rekisoa joang."
Ka tlaase ho moqolo
Pina e ' ngoe e nang le pale ea sebele, mantsoe a sebele, liphetolelo tsa sebele, le kamano ea sebele ea naha e otla litsela tse leshome tse sa tebang.
Se sa lokelang ho fetoha le ka mohla
- ●The Haitian-American identity at the center of it — this is not a generic "world music" brand and never should become one.
- ●Crediting Konpa's real origin (Nemours Jean-Baptiste, 1955 Haiti) whenever the genre is explained.
- ●Honesty in every number shown publicly — no inflated counts, no fabricated milestones, no backfilled history.
- ●Every song and country page staying free to experience — the music is a gift, not a paywall.
Se khothalletsoang hore se se ke sa Fela
- →New genres and collaborators, as long as the Haitian-American throughline stays legible.
- →New languages, translations, and countries — the catalog is built to grow this way from day one.
- →New formats: video, live performance, education, community covers — anything that makes a song a living experience rather than a static track.
- →The tools and platforms this runs on. The values above matter far more than any particular tech stack.
Bakeng sa Batho ba Tla Lula ba E - na le Bokamoso
If you're reading this because you've inherited this project, or you're helping carry it forward: you don't need to guess what would have been wanted. Use this page.
When a decision doesn't have an obvious answer, ask which choice serves the person listening to a song for the first time — not which choice is easiest to build or most impressive to announce.
When in doubt about whether something belongs, the test is simple: does it help someone discover, perform, or share the Konpa story — or does it just add noise around it?