Westernization of Martinican women
The post-war period will significantly mark a turning point in the daily life of the Martinique woman (cultural, dress style, icons, etc.) First, a real policy of assimilation to the French nation is put in place at the level of the State from an early age. The young Martinican is given civic education courses where patriotism (learning the French motto "liberty, equality, fraternity", the Marseillaise, respect for the tricolor, etc.) is constantly discussed.
On the other hand, the arrival of mass media (radio, television, print newspapers) will further encourage Martinicans to subscribe to what constitutes the norm of French culture. The French widely used (administration, media) and taught to children is favored, while the Creole, which was spoken in the plantations, is devalued and portrayed more as the language of the "uneducated". It must be said that Martinique was in the midst of a transition between the housing economy and the service sector. The difference grows between the family where the children spoke French, "children of a good family," and those who spoke Creole.
The language spoken by the children was proof of the standard of living of the whole family and the educational level of the children. Jacques Brel, Charles Aznavour, Edith Piaf, Dalida, Sylvie Vartan, and Joe Dassin fascinated Martinique women, for whom until then, French music was unknown. From the dominant French culture between 1945 and the 80s, the phenomenon of globalization with the United States in pole position will rob it of this place of choice. Thus, female icons cease to be French to become American.
The transition was slow, however, because Martinique appropriated both the French culture and that of the United States, which put on the front of the stage Black American stars, descendants of slaves like Tina Turner, Aretha Franklyn, Diana Ross, or Gloria Gaynor. Families were torn between these two cultural conceptions, because on the one hand, Martinique is French, and on the other, America had a spatial and historical proximity to Martinique, despite this “flaw” of the language barrier. The appearance of local groups like Malavoi, La Perfecta, or even stronger, Kassav, will be the transition between the two.
Young Martinicans are embarking on music by fully appropriating the Martinican melting-pot culture of various origins, embellished with Caribbean, American, French, European, and African sounds. In addition, the Creole language is no longer perceived as the language of the “uneducated” but as a language of appropriation of its own culture and history. Today, Martinique is culturally plural, the icons are at the same time American, French, Caribbean, and of course, local.
In her clothing habits, the Martinican women will gradually abandon the clothes that they sewed themselves, to buy in stores importing clothes directly from the metropolis. The madras definitively leaves the daily Martinican clothing to be replaced by dresses, skirts, blouses, and other items worn by the Europeans.
Like culture, globalization was right in the dressing room of Martinique women became westernized with the tailor to go to work. Be careful, however, the climate did not allow Martinican women to be passionate about the catwalks of fashion shows presenting the autumn-winter collection. Only summer outfits from Western countries arrived at the port of Fort-de-France.
The traditional costume proudly worn at the start of the 20th century is now seen only as a tool for promoting tourism. Also, do not be shocked to see it only when you arrive at the airport as part of tourist promotions in July-August or on the cruise dock. He is always present at the carnival of Fort-de-France, dressed by senior women and Reines-Mères.