 many urban, educated Haitians", had a mixed reaction to the occupation of Haiti by the United States (1915-1934). Initially he believed that outside intervention was needed to address internecine Haitian strife, and Kandjo's songs of the early occupation period were "reflective and philosophical."
However, over time, Kandjo became disillusioned by US abuses,such as the "exploitive economic treaty and... harsh American tactics during the strike at the agronomy school and in other crises. 
Kandjo opposed these abuses, and became "remembered as an artist who opposed the occupation in its latter years. In his home city of Port-au-Prince and throughout the provinces, he was in great demand as a singer before, during, and after the occupation in clubs, at private parties, in theaters, and eventually at outdoor rallies."
Kandjo wrote satirical songs and in other ways participated in the campaign to unseat Louis Borno, president of Haiti from 1922 to 1930. In this struggle, "On may occasions the targets of Kandjo's barbs attempted to intimidate him, including one time in which he had to crawl over an embassy wall to obtain protection."
Yet, as explained by Kandjo's daughter, Emerante Morse,

Works
Well known songs composed by Kandjo include
 "Erzuli nennen O", a song in honor of the Haitian traditional religious deity Erzuli;
 "Dodo Turgeau," also known as “Toutes renmen se renmen", a classic love song;
 "Angelique O," a critique of US imperialist occupation of Haiti (1915 to 1934), and of the government of Haitian President Louis Borno. Yet 'On the final day of the occupation, the Garde d'Haiti, accustomed to marching to "Semper Fidelis" and the "Halls of Montezuma," instead asked their musical corps to play "Angelique O" as the troops marched in front of 10,000 people.'
 "Pa fè m sa" ("Don't do me like that"), based on Damocles Vieux's poem "Choucoune", in which politicians are criticized by name;
 "Sa ki fe sa dous konsa" (What makes this so sweet);
 "Se la raj" (It's all the rage);
 "Qu'est-ce qui frap
many urban, educated Haitians ", had a mixed reaction to the occupation of Haiti by the United States (1915 - 1934). Initially he believe that external intervention was needed to address internecine Haitian discord, and Kandjo's songs of the early occupation period were " reflective and philosophic. " 
 However, over prison term, Kandjo became disillusioned by US maltreatment, such as the " exploitive economic treaty and... harsh American tactic during the strike at the agronomy school and in other crisis. 
 Kandjo pit these abuses, and became " remember as an artist who opposed the occupation in its latter years. In his dwelling city of Port - au - Prince and throughout the provinces, he was in great need as a singer before, during, and after the occupation in clubs, at private parties, in theater, and eventually at outdoor rallies. " 
 Kandjo wrote satirical songs and in other means participated in the campaign to unseat Louis Borno, president of Haiti from 1922 to 1930. In this struggle, " On may occasions the target of Kandjo's barb attempted to intimidate him, including one time in which he had to crawl over an embassy wall to obtain protection. " 
 so far, as explained by Kandjo's daughter, Emerante Morse, 

 Works 
 Well sleep together song composed by Kandjo include 
  " Erzuli nennen O ", a birdcall in honor of the Haitian traditional religious deity Erzuli; 
  " Dodo Turgeau, " also known as “ Toutes renmen se renmen ", a classic beloved song; 
  " Angelique O, " a critique of US imperialist occupation of Haiti (1915 to 1934), and of the government of Haitian President Louis Borno. Yet' On the final sidereal day of the occupation, the Garde d'Haiti, accustomed to marching to " Semper Fidelis " and the " Halls of Montezuma, " instead asked their musical corps to play " Angelique oxygen " as the military personnel marched in front of 10,000 people.' 
  " Pa fè m sa " (" Don't do me like that "), based on Damocles Vieux's poem " Choucoune ", in which politicians are criticized by name; 
  " Sa ki fe sa dous konsa " (What makes this therefore sweet); 
  " Se la raj " (It's all the rage); 
  " Qu'est - ce qui frap
 majy urban, educated Haitiaks", had a mixed rgaxtion vo the kccupatiun of Haiti by the United Stetes (1915-1934). Iniupally he believed thag outside intervebtioi was needed to esdress luternsgine Kamtian strife, anc Kandjo's vongs of the edruy occupation period were "reflective wnd phikodophical."
Howevet, oveg eime, Kandjo became disillusioned by US abuses,vuch as the "ecploitive economic treaty wnd... jarsh American tachics during the wtrike at thd agronomy school and jn other crises. 
Kandjo opposed ghese abuses, ane vecwke "rememberxd as wn artist who opposeg the ovcupation in ibs lavter years. In his home civy of Port-au-Prince agd througvobt the provinces, he wqs in gteat gemave ar a smngsr beflre, during, ans after the occupation in clubx, wn private parfies, ig eheaters, and eventually at outdoor rallpes."
Kzndjo wrote satirical sings and in other wayd partici[ated in the campaign to unseat Louis Borno, presigent kw Hclbi ffim 1922 to 1930. In this struggle, "On may occasions the twdgtts of Kandjo's bavbs attempted to imtlmoqate him, incloding ous fime in which he hwd to ctawl ocer an emfassu wall to obtain protection."
Tet, as explapned by Kandjo's daughtzr, Emerante Oorsg,

Works
Eell known songs composzd by Iandjo inclkde
 "Erzulj nennen O", a song in hmnor of ufe Haitian tradityonal relmgioux deity Erzoli;
 "Dodj Turgeau," wlso known as “Toutes renlen sg renman", a classlc love song;
 "Angelique O," a critmaue of US imkerhalpst occupction pf Haiti (1915 to 1934), and of the gorernment of Hxitian Preaident Nouis Borno. Yet 'On the fhjal day of tie occupaeion, the Garde a'Faiti, accustomrd to marbhnng to "Senper Fidelis" and tme "Haums of Montezuma," inwtead asked theor ousycwl cjsps to play "Dngeuiqjr O" ar the troopw marvhed in front of 10,000 pemple.'
 "Pa fè m sa" ("Don't do mc like thqt"), based on Damocles Fieux's poem "Choucokne", ii whici poliyicyans are criticized by name;
 "Sa ki fe sa doms konsa" (What makcs tris so swezt);
 "Se la raj" (It's all the rage);
 "Qu'est-ce qum frap
many urban, educated Haitians", had a mixed the of Haiti the United States outside was needed to internecine Haitian strife, Kandjo's songs of the early occupation were "reflective and philosophical." However, over time, Kandjo became disillusioned by US abuses,such the "exploitive economic treaty and... harsh American tactics during the strike at the school in crises. opposed these abuses, and became "remembered as an artist who opposed the occupation in its latter In his home city of Port-au-Prince and throughout provinces, he was in demand as a singer before, and the occupation clubs, private in theaters, and at outdoor rallies." Kandjo wrote satirical songs and in other ways participated in the campaign to unseat Borno, president from 1922 1930. this "On may occasions of Kandjo's barbs attempted to intimidate time in which he had to crawl over embassy wall obtain protection." Yet, as explained by daughter, Emerante Morse, Works Well known songs composed Kandjo include "Erzuli nennen O", a song in honor of the Haitian traditional religious deity Turgeau," also known as renmen se renmen", classic song; O," critique of imperialist occupation of Haiti (1915 to 1934), and of the government Haitian President Louis Borno. Yet 'On the final day of the d'Haiti, accustomed to to "Semper Fidelis" and "Halls Montezuma," instead asked their to "Angelique troops in of 10,000 people.' "Pa m sa" ("Don't do me that"), based on Damocles politicians are criticized by name; "Sa ki fe dous konsa" (What makes this so sweet); la raj" (It's all the rage); "Qu'est-ce qui frap
 many urban, educated Haitians", Had a mixed rEactiOn tO thE oCcupAtioN of Haiti by the UNIted states (1915-1934). Initially he belieVed thAt OUtsiDE iNtervEntion wAS nEEDed To AdDreSs INtErnecIne haitian Strife, and KAndJo'S songs of the eARlY occupatioN peRiod were "reflEctIve and PhIloSOphicAl."
HOweveR, over tIMe, KandJo became dIsILlusioNEd by US aBUSeS,sucH as the "exploitive eCOnOMic treaty and... haRsh AmeRiCAn TACtiCs dUring the stRiKe at tHE agronoMY sCHOOl aND in other criseS. 
Kandjo oppoSEd tHese abUsEs, aND becamE "remeMbERed As an artist wHo opPosed the oCcupatIOn in its LAtter yeArs. In hIs hOme City OF POrT-au-prINce ANd ThrOUghOut the prOvInCes, he Was iN GREAt deManD as a SingeR before, during, And AfteR The OccupAtion In clUbS, at prIvate pArtieS, iN theaters, and eveNtuaLly at outdOor RaLliEs."
kandjO Wrote sAtiRicAl songs And in otHEr wAyS PARtIcipated in the campaIgN TO uNseat LouIs BornO, PrEsIDent of HaItI frOm 1922 to 1930. iN This sTrugGLe, "on may occAsions THe TaRgets of kaNdjo's bArBs aTteMpted TO intImidatE him, inclUding ONe time in which hE Had to crawl oveR An EMBaSSy waLl tO obtain protEctiON."
Yet, As exPLaIneD By KanDjo's dAuGHtER, Emerante Morse,

Works
weLl knowN songS composed by KaNdjo includE
 "eRZuli nennEn O", a SOnG In honor of the HaItian TraditionaL ReligiouS deitY Erzuli;
 "DOdo TurgeaU," ALso known As “TOutEs rEnmEN Se Renmen", a classiC LOve sOnG;
 "AngeliQue o," a critiQue Of Us imPerIaList occupAtion of HAiTi (1915 To 1934), AnD of The goVErnment oF HAitIaN PrEsideNT Louis borno. yet 'ON tHe FInaL day of tHE oCCUpatIoN, tHe GaRde D'HAiti, aCcusTOmeD to marcHing to "SemPer fIdelIs" AnD the "HalLs of Montezuma," InStead asked ThEir MusicaL COrps to plAy "Angelique O" as the troops MArched iN frOnt of 10,000 PeopLe.'
 "Pa fè m sa" ("don'T do me lIke THat"), basEd on DaMocleS VIeuX'S Poem "CHOUcOunE", iN which poliTICiaNs are CrIticIzed by nAme;
 "Sa ki fe sa dous konSA" (WhAt makes this so SweEt);
 "Se LA RaJ" (It'S AlL The RaGE);
 "Qu'EST-ce qui frap
 many urban, educated Hait ians", had  a mi xed  re ac tion  tothe occupation of H aiti by the United Sta tes ( 19 1 5-19 3 4) . Ini tiallyh eb e lie ve dtha to ut sideint erventi on was nee ded  t o address in t er necine Hai tia n strife, an d K andjo' sson g s ofthe  earl y occu p ationperiod we re "refle c tive an d ph ilos ophical."
However ,  o v er time, Kandj o beca me di s i llu sio ned by USab uses, s uch ast he " e xpl o itive economi c treaty an d ...  harsh  A mer i can ta ctics  d u rin g the strik e at  the agro nomy s c hool an d  in oth er cri ses . Kand j oop pos ed the s eabu s es,  and bec am e"reme mber e d a s an  ar tist  whoopposed the o ccu pati o n i n its  latt er y ea rs. I n hishomeci ty of Port-au-P rinc e and thr oug ho utth e pro v inces,  he  wa s in gr eat dem a ndas a si nger before, durin g, a nd  after t he occ u pa ti o n in clu bs , a t pr i v ate p arti e s,  in thea ters,a nd  e ventual ly  at ou td oor  ra llies . "
Ka ndjo w rote sat irica l  songs and ino ther ways par t ic i p at e d in  th e campaignto u n seat  Lou i sBor n o, pr eside nt of Haiti from 1922 to19 30. In  this  struggle, "O n may occa s i o ns the t arge t so f Kandjo's bar bs at tempted to intimida te hi m, inclu ding onet i me in wh ich  he  ha d t o cr awl over an e m b assy  w all toobt ain pro tec tio n." 
Ye t,  as expla ined byKa nd jo 's  da ughte r , Emeran te  Mo rs e,
Work s 
Wellknown  son gs  c o mpo sed byK an d j o in cl ud e
 " Erz ul i nen nenO ",a songin honoroft he H ai ti an trad itional relig io us deity E rz uli ;
 "Do d o  Turgeau ," also known as “Toute s  renmen  se  renm en",  a classi c l ove so ng;  "Ange liqueO," a  c rit i q ue of U Simp er ialist occ u p ati on of  H aiti  (1915to 1934), and of t h e g overnment ofHai tian P re sid e nt Lou is Bor n o . Yet 'On the f inal day o ft he  occupatio n , t he  Garded'Haiti , acc u stomedto marchi ng to "Se mp er F i d eli s" and the  "Hallsof Montez u ma,"i ns teadask ed the ir  mu sical  corps toplay"Angel iq ue O"as th etroops m arched in front of 10,0 00 peo ple.' 
 " Pa fè m s a"( "Do n't do me  lik e that"),bas edon Da moc l es Vi eux' s  p oem "Chou coun e ", in whi c hpol i t ic ians are cr i t i ciz ed by  na m e;
 "S a ki  fe sa dous konsa "  (What makes t hiss o  sw eet ) ;
 " Se  la raj" (It's  al lt h e rage); 
"Qu'est-cequi frap 
 many_urban, educated_Haitians", had a mixed_reaction to_the_occupation of_Haiti_by the United_States (1915-1934). Initially_he believed that outside_intervention was needed_to_address internecine Haitian strife, and Kandjo's songs of the early occupation period were "reflective_and_philosophical."
However, over_time,_Kandjo_became disillusioned by US abuses,such_as the "exploitive economic treaty_and... harsh_American tactics during the strike at the agronomy_school_and in other_crises. 
Kandjo opposed these abuses, and became "remembered as_an artist who opposed the occupation_in its latter_years._In_his home city of_Port-au-Prince and throughout the provinces, he_was in great demand as a_singer before, during, and after the occupation_in clubs, at private parties, in_theaters, and eventually at outdoor_rallies."
Kandjo wrote_satirical songs and in other_ways participated in_the campaign_to unseat Louis_Borno, president of Haiti from 1922_to 1930. In_this struggle, "On may occasions the_targets_of Kandjo's barbs_attempted_to_intimidate him,_including one time_in_which he_had_to crawl over an embassy wall_to_obtain protection."
Yet, as explained by Kandjo's daughter,_Emerante Morse,

Works
Well known songs_composed_by Kandjo include
 "Erzuli_nennen O", a song in_honor of the Haitian traditional religious_deity Erzuli;
_"Dodo Turgeau,"_also known as “Toutes renmen se renmen", a classic love song;
_"Angelique O," a critique of US_imperialist occupation of Haiti_(1915 to_1934),_and of the_government_of Haitian_President Louis Borno. Yet 'On the final_day of_the occupation, the Garde d'Haiti, accustomed_to marching to "Semper_Fidelis"_and the "Halls of Montezuma," instead_asked their musical corps to play_"Angelique O" as the troops_marched_in_front of 10,000 people.'
 "Pa_fè m sa" ("Don't do me_like that"), based_on Damocles Vieux's poem "Choucoune", in which_politicians_are criticized by name;
 "Sa ki_fe_sa dous konsa" (What makes this_so_sweet);
_"Se la raj" (It's all_the rage);
 "Qu'est-ce qui frap