The Jeannette Troupe has stood as a cultural cornerstone in Madagascar’s rich artistic landscape for nearly a century. As this iconic Malagasy performing ensemble celebrates its remarkable legacy of over a decade, it continues to captivate audiences with performances that honour tradition while embracing innovation.
Founded in 1929, during a pivotal period in Madagascar’s history, the troupe quickly established itself as more than just an entertainment collective – it became a living repository of Malagasy cultural heritage. Through political upheavals, social transformations, and changing artistic trends, the troupe has remained steadfast in its commitment to authentic expression. This article delves into the fascinating history of the Jeannette Troupe. We’ll explore the talented founders whose passion and dedication laid the groundwork for what would become one of Madagascar’s most enduring cultural institutions. Their story is one of cultural preservation and the power of performance to unite communities across generations.
Born an Artist: Jeannette’s Rise to Prominence
Jeannette Troupe’ takes its name from the founder, a woman destined for the stage from an early age, Marie Jeannette.
Jeannette came into the world in 1903 with an innate artistic talent. Jeannette discovered her passion for performance at just eight years of age, consistently winning local talent competitions, one of which was once called “fampitaha” in her hometown of Antsinananand-Rova, a rural commune located approximately 20 kilometers southwest of Antananarivo, in the Analamanga region, in the Central Highlands of Madagascar.
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By the age of eleven, she had dominated nearly every talent show in her neighbourhood, driven by a deep admiration for the talented singers in her church choir. Though initially relegated to watching choir rehearsals from afar, often being chased away with friends for making too much noise, Jeannette’s raw talent couldn’t remain hidden for long.
Razafiniaina, the perceptive choir director, noticing a unique and raw talent waiting to be sculpted, decided to take Marie Jeannette under her wing. At just fourteen years old, Jeannette was cast in Rota sy Naomy (Ruth and Naomi), a theatrical adaptation of the biblical story of Ruth, a Moabite widow and Naomi, her Israelite mother-in-law, where her natural acting ability immediately won over audiences.
“A true born artist,” Razafiniaina would later remark, having no regrets about nurturing this young talent who showed promise as both a singer and actress. Jeannette’s debut performance at the Ambatovinaky Protestant Church—one of Madagascar’s oldest and most iconic Reformed Churches, perched on a central hill in Antananarivo—drew packed audiences and caught the attention of charity event organizers eager to witness her extraordinary gifts firsthand.
However, her artistic journey faced an early obstacle in the form of her uncle, who declined offers for her to pursue theatrical work. He had different plans for his niece’s future. Ever obedient, she reluctantly followed his wishes.
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Fate intervened in 1919 when her uncle passed away, placing Jeannette under her grandmother’s care. Free from her uncle’s restrictions, she promptly accepted offers from theatre organisers who approached her directly. This decision marked the beginning of a remarkable performing career: singing and acting.
From Stage Performer to Troupe Founder
Jeannette’s first official appearance at the prestigious Ambatovinaky Municipal Theater—the heart of Malagasy theater—came in the play Sarobidy (Precious). The performance was an unqualified success, cementing her reputation as a rising star in Madagascar’s theatrical scene. While she continued to perform at fundraising events, Jeannette’s passion for theatre led her to join the Kintana Telonoho Refy Troupe in 1922, directed by Justin Rajoro, a renowned Malagasy composer and musician.
At the time, this was the only company making a living exclusively from theatre. Life circumstances briefly took Jeannette to Toamasina, a major port city on Madagascar’s eastern coast in the Atsinanana region, approximately 215 km northeast of Antananarivo. However, she returned to the capital following a devastating cyclone in 1927.
Determined to advance Malagasy theatre, she established her troupe with a Malagasy composer named Naka Rabemanantsoa that same year. Though this initial venture proved short-lived, Jeannette’s unwavering dedication to her craft would soon yield more lasting results.
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The troupe’s trajectory changed dramatically in 1929 when Jeannette met the talented composer Andrianary-Ratianarivo. Their artistic collaboration would transform both their careers and elevate Malagasy theatre to new heights.
Andrianary-Ratianarivo: The Musical Genius
Born on April 2, 1895, in Ambatolampy in Madagascar’s Vakinankaratra region, Andrianary-Ratianarivo grew up during a period of profound change. Just a year before his birth, France had begun its colonising mission on the island. His father, Rainiketamavo-Ratianarivo, was a skilled valiha (bamboo tube zither) player whose talents once amazed Queen Ranavalona III, before becoming governor of Ambatolampy, a town and district located in the Vakinankaratra region of central Madagascar, approximately 70 kilometers south of Antananarivo.
Andrianary’s childhood coincided with General Joseph Gallieni’s administration, which ended the reign of the influential Merina Dynasty and transformed Madagascar into a French colony. Despite these political upheavals, cultural expression found ways to persist. In 1897, Governor Gallieni founded the bilingual newspaper “Vaovao frantsay-malagasy,” giving Malagasy writers a platform. The Municipal Theater of Ambatovinaky opened in Antananarivo in 1899, introducing theatrical arts to Madagascar’s cultural landscape.
Following in his father’s musical footsteps, Andrianary displayed remarkable talent from an early age. By ten, he was playing hymns on the harmonium in his family’s church. After completing his studies in Antananarivo, he returned to Ambatolampy to work in business while nurturing his passion for music.
Self-taught on the violin, within three years he became one of Madagascar’s most accomplished violinists. In 1915, Andrianary married Ratsaraibe and had one daughter. During World War I, as towns across Madagascar organised events to support Malagasy soldiers, Andrianary made his debut as a composer for theatrical performances in Ambatolampy. His compositions immediately stood out, becoming timeless classics in his hometown.
Andrianary relocated to Antananarivo in 1919 where he briefly worked as an office clerk before committing fully to his musical calling. There, he played piano in an orchestra and with the Société Philharmonique (philharmonic society), a musical association dedicated to promoting concerts and classical music. His talents led him to conduct orchestras and perform at luxury hotels in the capital with his own Ratianarivo orchestra.
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Throughout his career, Andrianary composed many distinctively Malagasy rhythms, including Bagasy and Kalon’ny Fahiny. Despite living through the colonial period, he maintained his cultural identity, composing exclusively in the Malagasy language.
The Birth of a Cultural Institution
Literature and art in general have played a crucial role in the history of Madagascar. They have been used as a means of expression, communication among compatriots, especially during the colonial period, when the Malagasy language and history were increasingly suppressed in national education. The paths of these two talented artists first crossed in 1921, during a challenging period for Malagasy literature.
Writers were major actors in preserving Malagasy history and language at that time. In the 1920s, however, many committed writers found themselves in exile. Theatre took up the mantle to fill the void that was left by the exiled writers.
The first meeting between Andrianary-Ratianarivo and Jeannette would happen in 1921. She and several other performers required a song to embellish the play Ny Zanako Vavy (My Daughter), by Razakaboana. Andrianary would pen the song Ny hatanorana eo anilan’ny harena (Youth alongside Wealth). Its unique lyrics, catchy and memorable melody, to get her with Mrs. Jeannette’s beautiful voice would captivate not only the audience but the entire capital, making this first collaboration a resounding success.
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The popularity of this song can immediately be considered one of the reasons that brought them closer.
Noticing Andrianary’s talent, Justin Rajoro, director of Kintana Telonohorefy Troupe, proposed that he compose theatrical songs for his troupe. He accepted and composed various musical scores for the troupe alongside Justin Rajoro and Naka Rabemanantsoa, a Malagasy composer.
Since then, many writers would seek him for his song composition skills. Nevertheless, he did not earn a living from his compositions. Instead, he made a living as a music teacher and professional musician. In 1928, he created five musical scores for the play Ranomody performed by the Renaissance Troupe and written by Rodlish (the pen name of Arthur Razakarivo), one of the youngest authors to emerge during this challenging era of Malagasy literature.
The Jeannette Troupe Takes Flight
Following the performance of Ranomody, Jeannette and several actors asked Andrianary to lead her troupe. He accepted, officially taking over leadership in 1929. Their tour of Ambatondrazaka, a town in the Alaotra-Mangoro region near Madagascar’s largest lake, marked the official launch of the Jeannette Troupe, with Ranomody serving as their inaugural performance.
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This was also the year that Andrianary transformed theatrical music composition into a legitimate profession, with many Malagasy poets and playwrights seeking collaboration with him. Dozens of plays, including Sangy Mahery, by Rodlish, for which Andrianary composed fifteen songs, was one of these plays. It was one of the most successful plays in the competition organised by the National Assembly of Antananarivo in 1960, the year of Madagascar’s independence.
Together, Jeannette and Andrianary combined their talents to promote and spread Malagasy theatre across the island. These two gifted souls, brought together by music, used theatre as a medium to create something unique and unforgettable. Their performances transported audiences to a romantic state, soothed hearts torn by separations and post-war crises, and rekindled hope through musical theatre during the era of Romanticism in Malagasy literature.
Legacy and Later Years
As the years passed, Jeannette grew in her artistry, becoming known not only for her unique voice and rhythm but also for her beauty. The troupe flourished under the leadership of these two remarkable artists until Andrianary’s death on March 9, 1949, a profound loss to Madagascar’s cultural scene.
Despite this setback, Jeannette continued to lead the troupe, ensuring it remained a vital cultural institution. In 1964, after mentoring junior actors, she retired from her performing career. She passed the torch to Fleur Rasoanirina, who succeeded her in all the roles Jeannette had played since the troupe’s revival.
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Through political upheavals, social transformations, and changing artistic trends, the Jeannette Troupe has remained steadfast in its commitment to authentic Malagasy expression. For nearly a century, it has served as more than an entertainment collective—it has been a living repository of Malagasy cultural heritage.
Jeannette died in 1981, but the story of the Jeannette Troupe demonstrates the power of performance to unite communities across generations and preserve cultural identity even during periods of colonial suppression.
As the Jeannette Troupe celebrates its remarkable legacy, it continues to captivate audiences with performances that honour tradition while embracing innovation—a living monument to the talented founders whose passion and dedication enriched Madagascar’s cultural landscape for generations to come.
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