Many Haitians at home and in the diaspora have conflicting and ambivalent feelings about Vodou, the religious practice of the majority of rural Haitians. Yet, despite the historical antagonism that many elites have had toward this religious practice, there are people who have struggled to reconcile these class-based conflicts in order to come up with a way to value Vodou for contemporary Haitians. By examining the significance of Haitian indigenous culture as part of Haitian identity and the forces of change that have impacted Haitians' views towards Vodou, we can better understand why Vodou is a source of ambivalence for some Haitians. Examining ambivalence in Haitian society enables us to better understand the relationship between Haiti's social classes and educational system, and the challenges confronting Haitians today.

This thesis examines the efforts of several Haitian composers and educators to address issues of class conflict and negative stereotyping of Vodou practitioners by elite Haitians. Incorporating elements taken from ceremonial music in their classical art music compositions, bringing the music and culture of the Haitian lower classes to national and international audiences, and building cultural institutions that promote Haitian indigenous music are ways in which some Haitians have succeeded in educating others about the traditional music and culture of Haiti and challenging ambivalence towards Vodou.