Julian Gerstin
percussion / ethnomusicology
This article is copyrighted material. Students,
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even if you don't quote exactly ("paraphrasing"). More important, you
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does!
Tangled Roots: Kalenda and Other Neo-African Dances in the Circum-Caribbean
New West Indies Guide 78 (1&2): 5-41 (2004)
This article
investigates the early history of what Roberts (1972: 26, 58) terms "neo-African"
dance in the circum-Caribbean. There are several reasons for undertaking
this task. First, historical material on early Caribbean dance and music
is plentiful but scattered, sketchy, and contradictory. Previous collections
have usually sorted historical descriptions by the name of dances; i.e.,
all accounts of the widespread dance kalenda are treated together, as are
other dances such as bamboula, djouba, and chica. The problem with
this approach is that descriptions of "the same" dance can vary greatly.
I propose a more analytical sorting by the details of descriptions, such
as they can be gleaned. I focus on choreography, musical instruments,
and certain instrumental practices. Based on this approach, I suggest
some new twists to the historical picture.
Second,
Caribbean people today remain greatly interested in researching their roots.
In large part, this article arises from my encounter, during ethnographic
work in Martinique, with local interpretations of one of the most famous Caribbean
dances, kalenda.(1) Martinicans today are familiar with at least
three versions of kalenda: (i) from the island's North Atlantic coast,
a virtuostic dance for successive soloists (usually male), who match wits
with drummers in a form of "agonistic display" (Barton 2002; Cyrille and
Gerstin 2001); (ii) from the south, a dance for couples who circle one another
slowly and gracefully; and (iii) a fast and hyper-eroticized dance performed
by tourist troupes, which invented it in the 1950s and 1960s. In addition,
there is a line dance known as mabelo that is identical to a 1796 description
of kalenda on Martinique; as well as a danced martial art, danmyé,
that recalls the stick-fighting kalendas of other islands (though on Martinique
it is done without sticks).
The problem
of making historical sense of these kalendas and kalenda-cognates is made
more complex by the ideas that surround them. In Martinique, members
of a politically inclined cultural revival movement see aspects of Martinican
identity in what they view as the Africanity of the solo kalenda and of danmyé,
as well as in the African-European hybridity, or créolité, of
the southern kalenda. The island's tourist troupes claim their own
dance as authentic. Some local scholars, oddly enough, advance an historical
image of kalenda quite similar to that of the tourist troupes, resurrecting
unfortunate stereotypes of black eroticism and pre-rationalism (e.g., Rosemain
1990, 1993). My effort to understand what may actually have happened
in early Caribbean dance is partially a correction of such representations.
In this
article, I will not dwell on Martinique's contemporary interpretations of
dance history. I have discussed these elsewhere in the contexts
of an ethnography of musical revival and political ideologies in Martinique
(Gerstin 2000), and white representations of black Caribbean identity through
dance (Gerstin, in press). Instead, I concentrate on historical material.
Some of this may be familiar to readers, as it has appeared in several well-known
collections (e.g., Emery 1988, Epstein 1977). Other material is more
obscure, although I hasten to add that I am an ethnographer, not an historian,
and have worked largely from secondary sources.(2)
Dance: Choreography and sexuality
One of the best-known descriptions of early black Caribbean dance was published by the priest Labat in Martinique, in 1698:
What pleases them most and is their most common dance is the calenda, which comes from the Guinea coast and, from all appearances, from the kingdom of Ardá [Ardra, in Dahomey]. The Spanish have taken it from the blacks, and dance it in all America in the same manner as the blacks Ö The dancers are arranged in two lines, the one before the other, the men to one side, the women to the other. Those are the ones who dance, and the spectators make a circle around the dancers and drums. The most skilled sings a song that he composes on the spot, on such a subject as he judges appropriate, and the refrain, which is sung by all the spectators, is accompanied by a great beating of hands. As regards the dancers, they hold up their arms a little like those who dance while playing castanets. They jump, they spin, they approach to within three feet of each other, they leap back on the beat, until the sound of the drum tells them to join and they strike their thighs, [the thighs of] some beating against the others, that is, the menís against the womenís. To see this, it seems that they beat their bellies together, while it is however only their thighs that support the blows. They back away immediately, pirouetting, to recommence the same movement with completely lascivious gestures, as often as the drum gives them the signal, which it does several times in succession. From time to time they interlace their arms and make two or three turns while always striking their thighs together, and they kiss one another. We see enough by this abridged description how this dance is opposed to decency. Despite this, it has not ceased being really the rage of the Spanish Creoles of the Americas, and so strong in use among them, that it forms the best part of their divertissements, and even enters their devotions. They dance it in their churches and in their processions, and the nuns hardly stop dancing it even on Christmas eve upon a raised theater in the choir, behind a railing, which is open, so the populace have their part of these good souls giving witness to the Savior's birth. It is true that they do not admit men with them to dance such a devout dance. I would even believe that they dance it with a very pure intent, but how many spectators would one find who would judge them as charitably as I? (Labat 1972 [1698]: 401-403; my translation)
Compare another description of kalenda, as well-known as Labat's and as often cited, written in Haiti in 1796 by the scholar and politician Moreau de St.-Méry.(3)
A dancer and his partner, or a number or pairs of dancers, advance to the center and begin to dance, always as couples. This precise dance is based on a single step in which the performer advances successively each foot, then several times tapping heel and toe, as in the Anglaise. One sees evolutions and turns around the partner, who also turns and moves with the lady Ö The lady holds the ends of a handkerchief which she waves. Until one has seen this dance he can hardly realize how vivacious it isóanimated, metrical and graceful (St.-Méry 1976 [1796]: 54-55).
St.-Méry's choreography of a couple or couples within a ring of onlookers
who also sing, clap and take their turn in the ring is common for entertainment
dances in West and Central Africa. It is quite different than Labat's
formation, men and women in separate lines. This formation not unknown
in Central Africa (J.H. Weeks 1882, in Cyrille 2002: 229, 238).
However, the line dancing observed by Labat was very likely the slaves' adaptation
of the latest Parisian craze, contredanse, brought to the colonies in the
mid- to late 17th century. Several contradance styles continue to exist
in Martinique today. On the island's North Atlantic coast, a distinctive
musical region, they are considered part of the lalin klé or "full
moon" genre (so-named because they used to be enjoyed on nights of
the full moon). One of these dances, mabelo, as noted above, fits Labat's
description of kalenda exactly (AM4 1992b: 51, 77; Bertrand 1966b).(4)
It is no coincidence that Labat observed this particular dance. Labat
managed a large plantation on the North Atlantic coast, just north of the
town of Ste.-Marie. He portrayed a scene from his own slave quarters.
In addition
to Labat and St.-Méry's reports from, respectively, Martinique and
Haiti, kalenda is noted in 1881 newspaper article from Port-of-Spain, Trinidad
on the pre-emancipation Carnival of the 1830s (Cowley n.d.: 8). Anthropologist
and choreographer Katherine Dunham watched a kalenda in Trinidad in 1932;
she described it as similar to St.-Méry's graceful couple dance, which
she cited by way of comparison (1947: 6-7). Kalenda is also mentioned
in a 1933 account from St. Croix (U.S. Virgin Islands) (Cowley n.d.: 17).
Dances called Old Kalenda and Woman Kalenda are part of Carriacou's contemporary
Big Drum ceremony (McDaniel 1992: 397; 1998a: 19). The sicá
style of Puerto Rican bomba includes, in its twelve variations, one called
calindá (Barton 2002: 189; Vega Drouet 1998: 937).
In
the United States, Le Page de Pratz noted kalenda in Louisiana in 1758 (Epstein
1977: 32). A better-known description is by George Washington Cable,
in a celebrated article on dancing in New Orleans' Congo Square. Cable's
article includes much colorful (not to say stereotyped) language. Here
is his description of kalenda dancing in its entirety:
Ö it was the favorite dance all the way from [Louisiana] to Trinidad. To dance it publicly is not allowed this side the West Indies. All this Congo Square business was suppressed at one time; 1843, says tradition. The Calinda was a dance of multitude, a sort of vehement cotillion. The contortions of the encircling crowd were strange and terrible, the din was hideous (1886; in Katz 1969: 42).
Cable's description echoes Labat's in his mention of "cotillion," a popular
contradance style. The word "multitude" also suggests a contradance,
i.e., two lines of multiple dancers.(5) However, we should not
make too much of this. Cable's description of kalenda is both brief
and, it appears to me, fanciful. Neither Cable nor his illustrator,
Edward Windsor Kemble, were eyewitnesses to Congo Square's dancing, which
was banned in the early 1840s (Southern and Wright 2000: 34).(6)
Chica, and a potpourri of similar references
Another widespread early dance was chica, which appears in St.-Méry:
This dance consists mainly in moving the lower part of the torso, while keeping the rest of the body almost motionless. To speed up the movement of the Chica, a dancer will approach his danseuse, throwing himself forward, almost touching her, withdrawing, then advancing again, while seeming to implore her to yield to the desires which invade them. There is nothing lascivious or voluptuous which this tableau does not depict (St.-Méry 1976 [1796]: 61-62).
Bremer also mentions chica in Cuba in the 1840s or 1850s (in Emery 1988:
26).
A number
of later commentators equated chica with kalenda. Cable wrote that
New Orleans' Congo dance, "called Congo also in Cayenne [French Guiana],
Chica in San Domingo, and in the Windward Islands confused under one name
with the Calinda, was a kind of Fandango" (1969 [1886]: 42). I am not
certain where this equation got its start; it is repeated almost verbatimónot
always with a reference to St.-Méry, but as self-evident factóby
Cally-Lézin (1990: 81), Jahn (1961: 81), and Rosemain (1990: 38, 40).
Similarly, a writer publishing in Haiti in 1889 equated Haitian bamboula
with chica and quoted St.-Méry's description of the latter in lieu
of his own description (Spencer St. John, in Emery 1988: 26). St.-Méry
indeed makes broad assertions about chica: it was found in the Windward Islands
and St.-Dominigue (Haiti) (1976 [1796]: 60); it was also found in Curaçao,
where it was danced by black women (ibid.: 64); it was widespread in Africa,
particularly the Congo (ibid.: 64-65); it was a favorite of white society
women (ibid.: 63); it (rather than kalenda, as in Labat) was the dance performed
by nuns at Christmas (ibid.: 65); and, brought by the Moors from Africa to
Spain, it was identical to fandango (ibid.: 67). But St.-Méry offers
no corroborating evidence for these claims.(7)
Without
implying that the following dances are identical, this is nonetheless the
place to gather additional descriptions of flirtatious couple dances utilizing
pelvic isolation and, in some instances, physical contact. Bastide mentions
three: an unnamed Mexican dance recorded in 1766 (which involved four couples:
a contradance?); an unnamed line dance from Peru, which included belly bumping
à la Labat's kalenda and was reported in both 1747 and 1791 (8); and,
in Uruguay, kalenda, bamboula and chica (Bastide 1971: 174-176). Brazilian
batuque (Fryer 2000: 95-102) and the rural samba de roda (ring samba), which
is "simply the batuque under a different name" (ibid.: 102), both feature
the belly/pelvic thrust, called semba in Angola (one hypothetical source
of the word "samba") and ombigada (umbigada) in Brazil (Crowell 2002: 17).(9)
In the
contemporary circum-Caribbean, a major example of this type of dancing is
the Cuban rumba complex. Rumba guaguancó can include contact:
the man attempts to give the woman a vacunao ("vaccination"), gesturing towards
her groin with his hand or foot as well as pelvis. In another rumba
dance for couples, yambú, the vacunao is suggested but not given.
(A common lyric is "yambú no tiene vacunao," "yambú doesn't
have a vacunao.") The older Cuban dance yuka, considered the predecessor
of rumba, includes a non-contact pelvic gesture called ndoki (Judith Justíz,
personal communication).(10)
Also in
the contemporary circum-Caribbean, Martinican North Atlantic bèlè
includes flirtation up to and including pelvis/belly contact, called zabap
or wabap. On neighboring St. Lucia the same movement, found in the jwé
dansé genre, is called blotjé (Guilbault 1993, 1998: 943).
There are photographs of dancers doing this move in a bamboula dance
on St. Thomas in the 1940s (Leaf 1948: 138-139). The tambu of Curaçao
(Christa 2002: 295-296), the baile de tambor of Congo dance groups in Panama
(Smith 1985: 192-195), and baile de palos in the Dominican Republic (Davis
2002: 136) all feature sexy couple dancing without contact. In the
Panamanian dance the woman uses her long skirt as a prop, and in a photograph
accompanying Davis' description of baile de palos a woman gestures with a
handkerchief, as in St.-Méry's kalenda. Finally, perhaps the
paradigmatic modern example of pelvic isolation (usually without contact)
is Trinidadian and Jamaican "winin'." As recently as 1932 and 1953,
newspaper reports from Trinidad described kalenda as consisting of "windings
and contortions of the body" (Crowley n.d.: 8-9). Still, there is no
guarantee that modern winin' descended directly from kalenda.
Eroticism examined
A remarkable feature in the history of writing on dance in the circum-Caribbean
is how authors focus on eroticism obsessively, while reducing it to a single
sensational image: frenzied black dancers revolving their loins and bumping
together. This image appears to have formed fairly early. For
example, Diderot's encyclopedia (1751-1772) followed Labat in depicting "calinda"
as an erotic line dance (cited in Rosemain 1993: 111). St.-Méry's
rather different description, as well as others, were ignored. In numerous
works since, compilers have lumped Labat's, St.-Méry's, and other descriptions
together as if they were the same, ignoring their variety and focusing, in
the main, on sensational eroticism (Emery 1988: 25). Kalenda is often
the focus of this approach, and (at least in French Antillean writing) seems
to have garnered a reputation as the proto-Caribbean dance.(11)
The
historical reasons for such reductionism seem straightforward enough.
White colonials created an image of black identity that embodied both their
own forbidden desires and their fears.(12) More recent Caribbean
writersópolitical, literary, scholarly and popularótracing
their own roots, have often sought the specific African provenance of one
or another custom, or have attempted to designate a single neo-African dance
as the source of today's welter of styles. This is understandable:
the search for origins can easily become a search for a singular, definite
beginning; a desire to say, "This is my ancestry."
But eroticism
is a broad and variable realm. Given the tendency to lump descriptions
together, it is worth reexamining such concrete details as we can find.
Note that
Labat's and St.-Méry's descriptions differ not only in their choreography
but in their sensibility: Labat's kalenda is "lascivious," St.-Méry's
"vivacious" and "graceful."(13) It is difficult, however, to know
exactly what to make of these adjectives. To my eye, for example, the
movements of Martinique's southern belair genre (bèlè du sud,
which includes the dance kalenda du sud) are graceful, minimalist and reserved;
dancers circle one another slowly, there is little pelvic isolation or overt
flirtation, and no contact. Yet some Martinicans find the dance
"très lascive et sensuelle" (AM4 1992b: 58-9). This recalls
St.-Méry's "lascivious or voluptuous" chica, yet that dance, with
its flirtatious advances and retreats, seems more like Cuban rumba than bèlè
du sudóor, for that matter, more like Martinique's North Atlantic
belair dances, which are full of flirtatious play.
A distinction
may be drawn between pelvic isolation (typically rotation) and contact per
se. Not all dances using isolation proceed on to contact: St.-Méry
describes chica dancers as "almost touching," but does not say they actually
touch. Today's "winin'" movement of Trinidad and Jamaica seems similar.
In Martinique's category of lalin klé dances, to which the line dance
mabelo belongs, there is also a ring dance called ting bang that employs
the zabap bumping movement, but the dancers do not meet. Cuban yuka
also employs a bumping movement (ndoki) without contact.
In addition,
there may be contact without pelvic isolation. In mabelo, partners grab
one another's hips and pull themselves together, with full contact from belly
through thighs. Labat is clear about this: "it seems that they beat
their bellies together, while it is however only their thighs that support
the blows." It is actually everything from bellies through thighs,
but Labat comes very close for someone who in all likelihood never tried
the dance himself.(14)
Moreover,
there are varying manners of signifying erotic contact. It is not always
pelvis to pelvis. In Cuban rumba guaguancó, the vacunao may
be given by the man's hand or foot to the woman's groin, or simply in her
general direction.
Yet another distinction is whether contact is prescribed
or optional. In Labat's kalenda, bumping was a set part of the dance,
as it is in today's mabelo, occurring regularly on the main beats. Likewise,
St. Lucian débòt, yonbòt, and jwé pòté
are ring dances similar to Martinican ting bang, but with obligatory contact
(Guilbault 1998c: 943). However, in most contemporary Caribbean dances
that include contact, the man pursues and the woman simultaneously entices
and avoids him; whether they will make contact is left to their inspiration.
Martinique's North Atlantic belair genre (described further below) is of
this latter type. In rumba guaguancó the vacunao is not obligatory;
ditto for the ombigada or semba in Brazilian samba de roda.
Finally,
there are degrees of sexual intent. In Martinique's North Atlantic
belair, flirtation and even pelvic contact are usually treated as pleasant
fun. One is rarely really pursuing one's partner, unless there is some
serious flirtation going on outside the dance as well. All kinds of
games may be played with eyes, hands and body, with approach and evasion,
and with props such as skirts and hats. Even in mabelo, where body
contact is prescribed, partners signal their willingness to interact through
meeting or avoiding one another's eyes, by withholding themselves tensely
or thwacking solidly, and so on.
Stick-fighting dances
Another form of kalenda in the Caribbean is a stick-fighting dance, done
almost exclusively by men.(15) It is not clear how the name shifted
from dance to stick fighting, but stick-fighting calinda was part of
Carnival in Trinidad and Grenada from the 19th well into the 20th centuries
(Cowley 1996: 2, 14, 45, 78, 85; E. Hill 1972: 23-31). It spread to
the Carnival of nearby Carriacou in the 20th century (Anon. 1994: 156; Pearse
1955: 30; Pearse 1956: 6; D. Hill 1980: 9).(16) It was also known
on St. Thomas (Leaf 1948: 190). Courlander refers to a Haitian stick-fighting
dance called mousondi, but identified by older Haitians as calinda (1960:
133). Courlander also mentions a stick-fighting "bomba calindán"
in Puerto Rico (ibid.: 133).(17) Gabali lists a Guadeloupean stick-fighting
art called calinda or konvalen (Gabali 1980: 91, 109).(18) For
Martinique I know of a single reference to a stick-fighting calinda, from
the late 19th century (Hearn 1923 [1890]: 146). But though several styles
of kalenda exist today on Martinique, none involve stick fighting.(19)
Bamboula, djouba and belair
An 1881 newspaper article on Trinidadian Carnival of the 1830s reports, "At
carnival time our mothers and grandmothers have even danced the belair to
the African drums whose sound did not offend their dainty ears, and our fathers
and grandfathers danced the bamboula, the ghouba and the calinda" (Cowley
n.d.: 8). All of these dances were widespread in the circum-Caribbean.
We will begin with bamboula.
Bamboula
forms the centerpiece to Cable's article on New Orleans' Congo Square.
As noted above, Cable did not see the dancing, and his writing tends towards
the exotic. Here is a representative example from his passage on bamboula:
Yonder brisk and sinewy fellow has taken one short, nervy step into the ring Ö He moves off to the farther edge of the circle, still singing, takes the prompt hand of an unsmiling Congo girl, leads her into the ring, and leaving the chant for the throng, stands her before him for the dance Ö Now for the frantic leaps! Now for frenzy! Another pair are in the ring! Ö And still another couple enter the circle (1969 [1886]: 38).
Assuming there is some truth to this, the basic choreography was a couple
or couples within a circle. However, compare Latrobe's 1819 account
of Congo Square (an eyewitness account, this time). Latrobe describes
the square filled with a large crowd and a number of dance rings; in most
of the rings he observed "two women dancing. They each held a coarse
handkerchief, extended by the corners, in their hands, and set to each other
in a miserably dull and slow figure, hardly moving their feet or bodies"
(1905: 180). Again the basic choreography is couples in a circle, but
Latrobe depicts a same-sex version, the handkerchief recalls St.-Méry's
chica, and the dancers are reserved rather than frenetic.(20)
Bamboula
was also reported in Trinidad in the 1700s (Cowley 1996: 7, 45) and in St.
Lucia in 1844 (Breen, in Abrahams and Szwed 1983: 267; Emery 1988: 27).
In Guadeloupe bamboula is considered the predecessor of today's gwoka (Lafontaine
1986: 85-90; Rosemain 1986: 22, 53; Uri and Uri 1991: 38-39).(21)
Bamboula existed within living memory in St. Croix (Oliver 2002: 208-210),
and on St. Thomas is either recently extinct or recently reconstructed (Bilby
1985: 188; Courlander 1954: Band 21, liner notes 4; Lieth-Philipp 1988: 8;
Sheehy 1998: 973). Leaf states that the St. Thomas version was danced
by pairs of women, like the dance Latrobe saw in New Orleans (Leaf 1948:
136-143). The name is also found in Haiti for a dance performed "on
the occasion of building a new house" (Courlander 1960: 136); in the Samaná
region of the Dominican Republic (bambulá), where it is considered
to be derived from Haiti (Davis 1998: 856; 2002: 142); and as one variation
(bambulé) of the sicá style of Puerto Rican bomba (Barton 2002:
189). An alternate name for one of Carriacou's Big Drum dances, Quelbe,
is Boula, a shortened form of "bamboula" (McDaniel 1998a: 19).
Djouba
(djuba, juba, yuba) is another frequently reported dance. On
Haiti, djouba is also called tanbou matinik ("Martinican drum") or simply
matinik, indicating the importance of cultural ties between the French colonies.
The above-quoted newspaper article on Trinidad carnival mentions "ghouba."
According to Roberts, djouba existed at one time in Guadeloupe (1972: 157,
223). Juba is one of the Creole dances of the Big Drum ceremony in Carriacou
(D. Hill 1980: 8; McDaniel 1998a: 19; Pearse 1956: 4).(22) Yubá
is one form of bomba in Puerto Rico (Barton 2002: 186; Vega Drouet 1998:
937). One of the dances of tumba francesa, a contradance style brought to
eastern Cuba by the slaves of planters fleeing the Haitian Revolution, is
yuba (Alén Rodriguez 1986: 169; Armas Rigal 1991: 29-32; Szwed and
Marks 1988: 30).
Cable briefly
mentions djouba in New Orleans: "The guiouba was probably the famed juba of
Georgia and the Carolinas" (1969 [1886]: 48). But this seems to me
to be a case of one name being used for very different things. Djouba
as performed in Congo Square would probably have been a drum dance, whereas
the juba of the rural South was a solo body-percussion style, "patting Juba"
(Epstein 1977: 141-144).(23)
A recent
publication cites St.-Méry's description of kalendaóa couple
danceóto illustrate Haitian djouba (Frank 2002: 111). However,
several older works depict djouba as a line dance. Dunham describes
the Haitian version as "a ëset' dance of several men and women facing
each other in two lines, with movement and attention directed to a partner"
(1947: 45-46). The yuba of Cuban tumba francesa is a contradance (as
are the other tumba francesa dances). And in French Guiana, djouba
is a contradance (Blérald-Ndagano 1996: 179).
The final
dance complex I will discuss is belair.(24) This dance is found
today on Martinique (the Creole spelling is bèlè), St. Lucia
(bélè) (Guilbault 1993: 1, 3), Dominica (bélé
or, according to Phillip, bèlè) (Caudeiron 1988: 27; Guilbault
1998a: 841; Honychurch 1988: 36-37; Phillip n.d.), and on Trinidad, Tobago
and Carriacou (bélè, bele or belair) (Anon. 1994: 156; C. David
1994: 162, 164; Herskovits and Herskovits 1964: 158-159; McDaniel 1998a:
19; 1998: 865; 1998c: 959; Pearse 1955: 30-31; 1956: 4; Roberts 1972: 117).
Puerto Rico's bomba complex includes a style known as belén.
Belair formerly existed in Grenada (McDaniel 1998b: 865; Pearse 1955: 31);
St. Thomas, where it was danced only by women (Leaf 1948: 184-190); and French
Guiana (Beaudet 1998: 437). In the latter case, the contemporary kaseko
dance complex is considered belair's direct descendant (Blérald-Ndagano
1996). In most of these places belair features couple flirtation in
the center of a circle.
A number
of authors describe belair as "creole" (e.g., for, Trinidad and Tobago, McDaniel
1998c: 959; for kaseko in French Guiana, Blérald-Ndagano 1996).
I take it they mean to distinguish belair from earlier neo-African syntheses.(25)
In fact, I do not find references to belair before the late 1700s and early
1800s. Women's costume for belair suggests this further creolization,
as it is most often based on the French creole outfit of long skirts and petticoats,
plaid waistcloth ("madras"), lace-trimmed blouse, and madras head scarf.
(Men's costume varies more widely, but often includes the madras worn as
a belt, plus a high-crowned straw hat.) In Trinidad, as in Martinique's
North Atlantic, belair uses quadrille or contradance choreography (Herskovits
and Herskovits 1964: 158-159). On Carriacou, the dances of the Big
Drum ceremony are grouped into three major categories: Nation Dances, Creole
Dances, and Frivolous. The belairs belong to the Creole category, along
with Old Kalenda, Juba and Quelbe (Boula) (McDaniel 1998a: 19). Such
details lend credence to the idea that belair was associated with the spread
of French creole culture somewhat after the period of initial neo-African
transculturations. The use of "kalenda" as a name for stick fighting
may also be a later accretion, as may be the link of both kalenda and belair
to satirical songs, discussed below.
Challenge/display dancing
Challenge dancing (Crowell 2002: 12) involves "agonistic display" (Barton
2002) between a dance soloist and a lead drummer, in which the drummer tries
to mark the dancer's movements in sound. I would expand the category
of "challenge dancing" to include virtuoso solo display as well as challenge
per se. This is a widespread African type and surely traveled to the
New World, although I have found only a few colonial descriptions.
An unnamed, men-only competitive display was performed in the Bahamas in
the late 19th century (Edwards, in Emery 1988: 29), while an 1844 account
from Cuba tells of a woman dancing competitively with a succession
of men (Wurdemann, in Emery 1988: 27). Southern U.S. buck dancing also
fits the type.
Modern
examples include Cuban rumba colombia, Puerto Rican bomba, and at least two
Guadeloupean gwoka dances, toumblak and kaladja. Katherine Dunham described
djouba as "primarily a competitive dance of skill" (Emery 1988: 27).
In addition, some dances in the contemporary kalenda and belair complexes
are competitive. Of Old Kalenda, one of the Creole category of dances
in the Big Drum of Carriacou, Pearse writes: "The dance, which now often incorporates
some of the eccentric and violent movements of stick-fighting,(26) is
by a man or a woman, and is a dramatic duel between the drummer and the dancer,
in counterpoint. The drumming is extravagant and complex" (1956: 6).
There may
be elements of sexuality in challenge/display dancesóthe moving human
body is almost always eroticóas well as dimensions of challenge in
erotic dances, i.e., flirtation/avoidance between partners, or competition
between men for a female dancer. But most dances seem to emphasize
either challenge/display or eroticism, not both. For example, Cuban
rumba guaguancó is clearly a couple/flirtation dance, while
rumba colombia is a virtuoso solo display by a series of men (nowadays women
as well), with some degree of dancer/drummer challenge.
The style
of kalenda danced in the North Atlantic region of Martinique, particularly
in rural settlements surrounding the town of Ste.-Marie, clearly fits the
challenge/display description.(27) The dance is performed by successive
soloists in the center of a circle, until recently always men. Some
movements are fixed by tradition, but many dancers develop their own signature
variations, which may be spectacular and acrobatic. Dancer and drummer
(only one drummer plays at a time) match movements and drum rhythms together;
there is an element of improvised reciprocity as well as competition.
A well-known Martinican dancer from the North Atlantic region told Dominique
Cyrille and me:
You make a turn around the circle before presenting yourself in front of the drum Ö Now when you arrive before the drum and the drum goes tipitip and immediately marks for you whatever it is you have done. You come and the drum works with you, you come back and the drum is with you. Whatever you have done the drum works with you (Vava Grivalliers: interview).
This is as neat a synopsis of the challenge/virtuoso aesthetic as any.(28)
Satire and secularism
By the 19th century kalenda and belair had become, in certain places, the
vehicles of topical, satirical song. Cable writes: "In Louisiana, at
least, [kalenda] song was always a grossly personal satirical ballad Ö
it has long been a vehicle for the white Creole's satire; for generations
the man of municipal politics was fortunate who escaped entirely a lampooning
set to its air" (1886; in Katz 1969: 43).(29) Cowley and others
describe both stick-fighting calinda and belair songs as satirical predecessors
of calypso (Cowley 1996: 7, 45; E. Hill 1972: 11, 34, 63). Similarly,
in Martinique and Guadeloupe, we find references to 19th century belair
as "improvisations" or satirical songs of domestic slaves (Cally-Lézin
1990: 69-70) and of urban free blacks (Hearn 1977 [1924]: 84; Rosemain 1993:
53-54). Breen, in 1844, described St. Lucian belairs as songs sung
without dancing by the La Rose and La Marguerite societies (in Abrahams and
Szwed 1983: 263-265). In Martinique, belair songs provided the melodic
basis for biguine (Rosemain 1993: 139-141), just as kalenda and belair songs
did for calypso in Trinidad. In this context of emergent 19th and early
20th century dance-band music, kalenda and belair were a vital part of urban,
proletariat culture in the Creole-speaking islands.
All of
these dancesókalenda, chica, bamboula, djouba and belairóappear
to have been secular.(30) Apart from Labat's and St.-Méry's
nuns, I am aware of very few references to kalenda that specifically involve
religion. Epstein cites an 1885 report from New Orleans of a vodoun
ceremony that included "the weird and strange ëDanse Calinda'" (1977:135).
Courlander notes, "the word Calinda appears sometimes in songs of the Vodoun
cult in Haiti" and also mentions the reputed existence of a Calinda secret
society (1960: 132), though he is dubious about the latter's reality (ibid.:
166-167). Finally, Courlander mentions that the Haitian stick fight
mousondi or calinda is associated with the Congo "nation" of vodoun (ibid.:
133).
Funeral
wakes are sometimes the setting for Haitian djouba (Courlander 1960: 135),
Carriacouan stick-fighting kalenda (Anon. 1994: 156), and belair in both
St. Lucia and Dominica (Guilbault 1998a: 841). In Trinidad, belair
is performed to honor ancestors (Herskovits and Herskovits 1964: 158-163).
However, occasional performance at wakes does not necessarily mean that a
dance is religious. In Martinique and Guadeloupe, storytelling (kont)
and vocalized percussion songs (mizik djel, boula djel) are associated with
traditional wakes, yet are not considered sacred music.(31)
The issue
of religion is important because those who have attempted to counter the stereotype
of hypersexuality in black dance have frequently insisted on the art's spiritual,
ritualistic quality. The "sacred fertility dance" trope finds its origins
in European Romanticism, animates The Golden Bough, resurfaces in negritude,
and continues today in New Age invocations of "spirituality" in regard to
virtually everything. There may be truth in this, but too often it
seems to be just another exoticizing, primitivist projection. Kalenda,
chica, bamboula, djouba and belair do not need this apology.
Musical accompaniment: Transverse heeled drumming
So far we have looked at dancing per se. Links between styles proliferate
further if we take into account musical instruments and methods of playing
them.
The name
bamboula (often shortened to boula) recurs on several islands as a term for
supporting drums in percussion ensembles. The small drum in Labat's
report on Martinican kalenda was called baboula (1972: 401-402); that in
St.-Méry's Haitian kalenda was called bamboula (1976: 52-53).
A 1798 account from Puerto Rico mentions drums called bamboula, as well as
drums called bomba (Roberts 1972: 42). Today, the smallest supporting
drum of today's Haitian vodoun ensemble is still called boula, as are the
large supporting drums in Guadeloupean gwoka, Carriacouan bele (C. David
1994: 167-168; McDaniel 1992: 397; 1998a: 82), and Dominican bèlè
(Phillip n.d.: 5). In Cuba, one of the drums used in tumba francesa
is called bulá (Alén Rodriguez 1986: 169; Armas Rigal 1991:
6). An exception to the supporting role of drums of this name is found
in Grenada, where baboula was the lead drum for 19th century belair (McDaniel
1998b: 865).
Djouba,
bamboula, and sometimes belair are associated with transverse drummingóthat
is, the drums are played lying on their side, the drummers sitting astride
them, sometimes pressing one heel on the drumhead to change the pitch.
Latrobe's New Orleans journal of 1819 describes drums played transversally
(Latrobe 1905: 180-181) and includes a sketch (reproduced in Epstein 1977:
98); later, Cable's article and Kemble's accompanying engraving reiterated
this information (1969 [1886]: 34). A 1707 painting from Surinam includes
two drummers playing transverse drums (Price and Price 1980), and there is
a transverse drum in an 1835 engraving of Brazilian capoeira (Fryer 2000:
28).
In
many of these same traditions, a second percussionist plays a supporting
ostinato with sticks on the side of the drum, behind the seated drummer.
This accompanist can be seen in the 1707 Surinamese painting and possibly
the Cable/Kemble engraving, although in the latter case it is hard
to discern whether the man kneeling behind the drummers is playing sticks
or another drum (Southern and Wright 2000: 36). A 1796 report from Barbados
mentions a drummer who, "sitting across the body of the drum, as it lies
lengthwise on the ground, beats and kicks the sheep-skin at the end, in violent
exertion with his hands and heels; and [another man] sitting upon the ground
at the other end, behind the man upon the drum, beats upon the wooden sides
of it with two sticks" (Pinckard, in Abrahams and Szwed 1983: 294; Epstein
1977: 62).
Contemporary
styles using transverse drumming include: Martinican bèlè and
kalenda (in all their varieties); Guadeloupean gwoka; Haitian djouba (or
tanbou matinik) as played by certain drummers (Courlander 1954: Band 21,
liner notes 4; Fleurant 1996: 30); balsié drumming for the dance pripr'
in the Dominican Republic (Davis 1998: 852); kanmougé in French Guiana
(Blérald-Ndagano 1996: 60; Beaudet 1998: 437); chanté siay
in St. Lucia (Guilbault 1993: 2); kumina and tambo in Jamaica (Bilby 1985:
187-188; Carty 1988:20; Lewin 1998: 898, 903; Lewin 2000: 171, 243-244; Roberts
n.d.: Side 2 Track 1); bamboula in St. Thomas (Leaf 1948: 136-143); batuque
and jongo in the states of São Paulo, Rio de Janeiro, Esp'ritu Santo
and Minas Gerais, Brazil (Fryer 2000: 104; Kubik 1990: 149-150); Venezuelan
mina, cumaco, tambor grande and burro (Brandt 1994: 271; 1998: 526-528; Garcia
and Duysens 1999: 57-59); Cuban yuka (Veléz 2000: 66); sometimes Cuban
tumba francesa (Alén Rodriguez 1986: 170); and on occasion bomba in
Puerto Rico (Hal Barton, personal communication).
Contemporary
examples of accompanying sticks on the side are Martinican North Atlantic
bèlè and kalenda, in which the sticks are known as tibwa; kanmougé
in French Guiana (also tibwa); Haitian djouba (Courlander 1954: Band 21,
liner notes 4); Jamaican kumina and tambo (catta or kata) (Carty 1988: 20;
Lewin 2000: 171, 243-244; Roberts n.d.: Side 2 Track 1); St. Thomas bamboula
(catta) (Leaf 1948: 137); Cuban yuka (Veléz 2000: 66) and tumba francesa
(Armas Riga 1991: 5-6) (the sticks are called catá for both styles);
and the Venezuelan styles listed above (palos or laures).(32)
Belair
as played outside of Martinique (St. Lucia, Dominica, St. Thomas, Trinidad,
Tobago, Grenada and Carriacou) uses upright drums; however sticks are often
played on the drum side or rim. As an alternative to sticks-on-the-side,
sticks may be played on a piece of bamboo or hollowed wood. This occurs
in Martinique (the bamboo idiophone is still called tibwa) and occasionally
Guadeloupe (33); Puerto Rican bomba (cuá); Cuban rumba and sometimes
yuka (paila, guagua or catá) (Hill 1998: 198); and in Jamaica among
the Maroons (kwat) and in gumbay drumming of the west of the island (Kenneth
Bilby, personal communication).(34)
Above,
I noted a connection between belair and djouba, in that Haitian djouba is
also known as tanbou matinik, and is played in the style of Martinican North
Atlantic belair with transverse drumming and sticks on the side. A
similar overlap is found in Trinidadian bele, which is also known as juba
(Herskovits and Herskovits 1964: 159). Bélé juba is one
of several belair dances in Dominica (Guilbault 1998a: 841; Honychurch 1988:
36-37).(35)
Accounting for discrepancies
I have only scratched the surface of this tangle of names, places, and practices.(36)
It is obvious that certain dances were (and are) widespread but that observers'
reports of them differ, sometimes quite drastically. We have various
forms of dances with the same name: for example, kalenda as a line dance (Labat),
as couples within a dance ring (St.-Méry), as stick fighting, as a
type of satirical song, and in contemporary Martinique as a challenge dance
(the North Atlantic version) and as a dance for multiple couples sans dance
ring (the southern version). We have eroticism of many shades: graceful,
voluptuous, lascivious, frenetic; as full-frontal contact, as pelvic isolation
without contact; contact prescribed or optional. The historical records
mix and match these features with bewildering complexity.
There are
several possible reasons for such overlaps and discrepancies. The slaves
often used a single term for multiple purposes. Breen, writing of St.
Lucia in 1844, states that any outdoors dance was called a bamboula,
any indoors dance a ball (in Abrahams and Szwed 1983: 266). Such polysemy
remains common in the Caribbean today. For example, graj (grajé),
which means "grate" or "scrape" in French Creole, is both a dance and a dance
step in southern Martinique, one of the gwoka dances in Guadeloupe, a contradance
(Blérald-Ndagano 1996: 125-128) or perhaps another form of dance (Beaudet
1998: 437) in French Guiana, and in Haiti both a musical instrument (a metal
scraper) and a method of strumming guitar (by analogy to scraping).
Also, as dances spread from island to island slaves adapted and altered them,
resulting in quite varied styles with the same name.(37)
White
colonials' written testimony constitutes the bulk of the historical record,
but white observers were not necessarily accurate. Having heard the
name "kalenda" or "chica" in reference to one dance, they may have applied
it indiscriminately to others. "It is evident," writes Courlander, "that
writers tended to use a single name, such as Chica or Bamboula, to cover
virtually any kind of dance festivity, much as many white Cubans refer today
to all sorts of Afro-Cuban cult dances as Bembé" (1960: 127).
I have already discussed how St.-Méry is often relied upon in such
conflation, even today.
Many white
writers were condescending towards black dances, while others found them offensive.
Either of these attitudes could well have led to careless and superficial
reporting. Even white observers who took the task of describing slave
dances seriously may have lacked the cultural knowledge needed to discriminate
between dances, musical instruments, the African provenance of slaves, the
variety and meanings of African eroticism, and so on. "White commentators,"
Rohlehr points, out, "tended to view Blacks as a single undifferentiated
mass, and only a few would or could distinguish between nation and nation,
let alone between dance and dance" (1990: 15). Both sympathetic and
antipathetic white chroniclers approached black dance with strongly held
preconceptions and stereotypes that affected their accounts.
In the
end, we may not be able to sort these dances by name. The surviving
names have too broad a sweep of referents, and doubtless there were a great
many other names that have vanished. But we can be assured that several
basic choreographic styles existed: successive couples in a ring, line dances,
challenge dances, and martial arts dances; and that these utilized various
degrees of eroticism, from none (the martial arts dances), to light flirtation,
to improvised or prescribed contact.
If
the widespread recurrence of names and practices does nothing else, it provides
evidence of the spread of creole culture from island to island in the Caribbean,
from Brazil to New Orleans. I believe that we can use this fact to advance
two hypotheses. First, slaves from Bantu-speaking Central Africa played
a large role in forming these early styles. Second, four of the five
dances I have discussedókalenda, djouba, bamboula, and belairówere
particularly associated with the routes of French colonialism. Only
chica seems to have been linked to Spanish rather than French slavery.
Congolese/Angolan influences
A Central African (Congolese, Angolan) connection is postulated for much
of the dancing and drumming of the types described here.(38)
Reports from New Orleans in the 1820s, for example, state that the Sunday
afternoon dances of slaves were called "the Congo dance" (Epstein 1977: 132-133)
and, of course, the square where dances were held was known as Congo Square.
Two of the choreographies discussed hereócouple dancing in the center
of a circle with flirtation, pelvic isolation and sometimes contact; and
challenge dancing between dance soloist and lead drummeróhave also
been associated with Central Africa. The former, according to Brandel,
is "an integral part of many Central African dances" (1973: 46; cf. Crowell
2002: 17; Fryer 2000: 95-102).(39)
Transverse
drumming with sticks on the side is of Central African origins according to
several authorities (Alén Rodriguez 1986: 170; 1998: 825; Bilby 1985:
187; Kubik 1998: 678; Lewin 1998: 898; Szwed and Marks 1988: 32). Photographs
show the BaAka (Kisliuk 1998: 91, 188) and BaBenzélé (Arom
n.d.: plates 4 and 5) of the Congolese rainforest performing in this fashion,
and Tracey provides a good recorded example from southern Zimbabwe (Tracey
n.d.: Side 1 track 5).
A second
type of drumming associated with Central Africa is open-bottom barrel drums
played upright with the hands. Again, dances of the kalenda, bamboula
and belair complexes are associated with this style. Good contemporary
examples are Puerto Rican bomba, Trinidadian bele, French Guianese kaseko,
and Cuban rumba. The rumba complex includes both circle/couple/erotic
choreography (yambú, guaguancó, yuka) and challenge (colombia),
both types being associated in Cuba with Congolese origin (Daniel 2002: 35;
Veléz 2000: 64-65).(40) And, of course, one name of the
drum used for these dances is conga (although the usual Cuban term is tumba).(41)
The case
for Congolese influence would be made stronger if it can be demonstrated
that slaves from that area were important in the history of the places where
kalenda, bamboula, djouba et al. existed and exist. To examine this
issue, I turn to the history of the French slave trade.
The French connection
Although the Spanish were the first to bring African slaves to the New World,
their main interest lay in precious metals from the mainlands of Central
and South America, and they used mostly Indian slaves to work their mines.
It was the Portuguese who instigated the African slave trade in earnest, beginning
in the early 1500s in the Senegambia and the Slave Coast (present-day Benin),
then moving south to the kingdoms of Kongo by 1510 and Angola by 1550 (Reader
1997: 379-380; Thomas 1997: 221). Even so, the trade remained relatively
small until the Dutch developed the sugar plantation system in the early
1600s. The Portuguese and Dutch continued to dominate slaving through
the 1600s, with the Portuguese controlling most shipments to Brazil and the
Dutch those to the Caribbean (Fage 1999: 244-248; Thomas 1997: 256).(42)
The Dutch system was soon copied by the British and French, who established
their own plantations and slaving operations by the mid-1600s (Fage 1999:
250-251; Shillington 1995: 174).
According
to Thomas (1997: 189) Angolans and Congolese formed the largest percentage
of the slave population in the 1600s and early 1700s, mainly because of Portuguese
involvement. Virtually all Portuguese slaves went to Brazil, however,
and may not have had much direct impact in the Caribbean. The British
concentrated mainly on obtaining slaves from the Gold Coast (present-day
Ghana and Togo) and Slave Coast (present-day Benin), later drawing also from
the Bight of Biafra (southeastern Nigeria) and Angola (Eltis 2000: 252; Thomas
1997: 247).
The
French entered Senegal in 1539 and controlled trade in the Senegambian through
the 1600sóthis was to remain the only area in which they had their
own forts and trading centers (Fage 1999: 249; Rawley 1981: 111; Thomas 1997:
153). However, this area was never a major source of slaves for the
French, or any other European nation (Eltis 2000: 164-169).(43)
Even during the early years, 1650-1700, French slaving from the Bight of Benin
outstripped that from the Senegambia, with 2,372 persons arriving in the
New World from the former and 1,385 from the latter. In 1701-1725, 9,547
arrived from the Senegambia and 38,411 from the Bight of Benin. By
then, too, the French had moved into Congo-Angola, from which 9,690 slaves
arrived (Eltis et al. 1999).(44) Through the rest of the 1700s,
the Congo-Angola and Bight of Benin accounted for a decided majority of French
slaves (ibid.)óthe Bight of Biafra provided more than all the rest
of West Africa together, 218,364 to 158,090, and Central Africa still more,
333,013.(45) In the Congo-Angola region, "although Portugal theoretically
controlled maritime commerce along this section of the African coast, the
French usually managed to conduct their business Ö unhindered" (Stein
1979: 79). During 1751-1790 258,240 slaves arrived from the region,
including 68,399 in 1786-399 alone (Eltis et al. 1999). The French
Revolution and Napoleonic Wars disrupted French slaving in the 1790s, but
even so the 38,800 taken from Angola in 1791-1800, according to Curtin (1969:
170), were the most from any region for that decade.(46)
The
policy of mercantilism (monopoly trading) meant that slaves were sold mainly
to colonies of a ship's mother country.(47) (Apart, of course,
from illegal trading.) Until 1730 French slavers almost always sailed
first to Martinique; after 1730 Saint Domingue became the primary destination
(Rawley 1981: 105; Rogozinski 1994: 125; Stein 1979: 107, 109; Thomas 1997:
192).(48)
Additional
factors should guide an interpretation of this data, including the importance
of early and late arrivals and the conditions slaves encountered on different
islands. I will treat only the matter of early versus late arrivals
here.
Mintz
and Price, in their reconstruction of the dawn of Caribbean culture (1992),
write that adaptations and transculturations arose quickly, spread rapidly
through commerce between islands, and laid down a basis for creole culture.(49)
The speed of innovations was indeed remarkable. In Martinique, for example,
slavery began in the 1630s; an ordinance passed 1654 prohibited slave dances;
a second ordinance in 1678 mentioned kalenda by name; and the 1685
Code Noir extended the prohibition to all French possessions (Epstein 1977:
27-28).(50)
Recent
data for the earliest arrivals (that of Eltis et al. 1999) again suggest the
importance of the Bight of Benin and Congo-Angola in French possessions, in
contrast to the Senegambia. The two earliest dance accounts cited hereóLabat's
description from Martinique in 1698, and the Surinamese painting of 1707ófeature,
respectively, belly contact and transverse drumming, features that are purportedly
Central African in origin. By 1698, 2,161 captives had departed the
Bight of Benin for Martinique, against 144 from the Senegambia.
The figures for Surinam as of 1705 are 10,817 from the Bight of Benin, 9,360
from Congo-Angola, 5,688, and none from Senegambia.(51) Here
the evidence for early Central African influence remains inconclusive, especially
for Martinique, where early arrivals appear to have been predominantly from
the Bight of Benin.
The importance
of French colonialism in spreading early Caribbean culture seems undeniable.
Throughout the 1700s Saint Domingue, Martinique and Guadeloupe were France's
richest colonies. They influenced one another, and other islands as
well. For example, in 1776-1777 New Orleans imported 2,500 slaves from
Guadeloupe, Martinique and Haiti; the city's population was only 6,500 at
the timeóa 40% increase. Another 3,000 free black Haitians fled
to New Orleans during the Haitian Revolution, and another 10,000 ten years
later during the Napoleonic Wars. By 1810 New Orleans' population had
swelled to 24,500 (Fiehrer 1991: 24; Washburne 1997: 64). If these
were the glory days of Congo Squareóthe dances there were shut down
in 1840ómany participants would have been recent French Caribbean
black and creole immigrants. The Haitian Revolution also sent thousands
of slave owners, slaves, and freemen to eastern Cuba, resulting in the tumba
francesa style; and to Puerto Rico. In Puerto Rican bomba, songs for
the figures yubá, leró and corvé are still often sung
in French Creole (Barton 2002: 186; cf. Roberts 1972: 42).
In addition,
France exerted a strong influence on white fashion. Then as today, Paris
was a world center of style. Dance crazes originating there included
contredanse (contradance) in the late 1600s, quadrille in the mid- to late
1700s, and various couple dances (polka, mazurka, waltz) in the 1800s.
Such fashions were copied by the slaves, sometimes fairly strictly, sometimes
in combination with neo-African traditions.
We should
also consider the importance of late arrivals, including Africans brought
after the end of slavery. In certain cases, late arrivals were able
to use the already established basis of creole culture as a foundation for
their own practices, preserved fairly directly. For example, Cuban
batá drumming is a reconstruction of Yoruban practices instigated in
the 1830s by recently arrived African drummers and woodcarvers (Ort'z 1952-55
vol. 4: 315-317). In Jamaica, Congolese indentured laborers arriving
in the 1800s, after the end of slavery, are linked to the development of
kumina (Carty 1988: 20; Lewin 2000: 243-244). In other cases, however,
it is difficult to be sure of the influence of latecomers. About 10,000
Congolese indentured laborers were brought to Martinique in the 1850s and
1860s, after the end of slavery (1848). These immigrants left the plantations
behind as quickly as they could and founded their own communities, largely
in the south of the island, which retained a distinct identity until very
recently. Yet the southern belair style does not feature either the
pelvic isolations and contact, or the challenge dancing, associated with
Congolese dance. Martinique's North Atlantic dances seem to exhibit
those features to a greater extent, yet most of the North Atlantic dances
existed prior to the end of slavery.
Despite
such obstacles, my thesis remains that French slavery was instrumental in
spreading the dance complexes kalenda, bamboula, djouba, and belair.
The places that recur in mentions of these dances were French colonies: Haiti,
Martinique, Guadeloupe, St. Lucia, Dominica, Trinidad, Grenada, Carriacou,
French Guiana, Louisiana. Though some of these places are usually associated
today with British dominion, each was colonized by the French before the
British, and remained French until lost or ceded to the British in the Napoleonic
Wars. In Trinidad, for example, French planters were the first Europeans
to settle in large numbers, in the late 1700s. They brought slaves from
Martinique and Guadeloupe with them, and kalenda, bamboula, djouba, and belair
began appearing in Trinidadian records at this time. Although the British
took over in 1797, French Creole speakers remained the largest population
group, and the Franco-Creole cultural basis was refreshed by a wave of French
Antillean immigrants in the 1840s and 1850s. Creole remained a living
language until quite recently. Trinidad's small neighbors, Carriacou
and Grenada, were also settled early on by the French and their slaves from
Martinique, Guadeloupe and Haiti (Hill 1998: 185).
Summary and caveats
To summarize, I suggest the following scenario: slaves from the Congo-Angola
region or, possibly, the Bight of Benin brought to the New World dances of
successive couples within circles, sometimes using pelvic isolation and contact,
as well as challenge/display solo dancing. Both of these types were
accompanied by transverse drumming with sticks on the side, or by upright
barrel drums played with the hands. The slaves adapted these practices
into early transculturated forms known variously as kalenda, bamboula, djouba
and chica. Transported by the French, they carried the first three
of these dances widely around the Caribbean. Kalenda, bamboula and
djouba may have been names for the same or similar dances; there is a wide
range of variation in the historical material. Chica may have been
similar to the others but was possibly associated with Spanish settlement,
or with creole (mulatto) rather than black slaves. Some of these styles,
e.g., kalenda and chica, were popular among white and creole as well as black
dancers. In Brazil, batuque and lundu appear to have been the early
Congolese/Angolan syntheses.(52) The first dances laid a basis
for later developments, some idiosyncratic and others widespread. The
latter include kalenda stick-fighting dances, belair dances, and topical,
satirical songs also known as kalenda and belair. Large numbers of Congolese/Angolan
slaves arrived throughout the 1700s, and still later arrivals, even after
the end of slavery, reinforced Central African influences.
We
should treat this scenario cautiously. Although certain dance styles
and musical practices appear Congolese/Angolan in nature, I can find little
hard evidence of linkages. The history of each Caribbean island is complex,
and includes various waves of migration and influence. A few examples,
in no particular order, should suffice to show the degree of caution necessary.
Pelvic
isolation may be considered diagnostic of Congolese/Angolan influence, but
Kubik warns that different dances in Central Africa focus on different parts
of the body, not always the pelvis (1994: 38-39). People in other African
regions also practice sexy couple dancing. I have spoken of challenge
dances as Congolese yet, surely, the impulse to competition exists in other
places (cf. Chernoff on musical "cutting" in Ghana: 1979: 81). Very
specific dancer-drummer interaction, as is found in challenge/display dancing,
is certainly not absent outside the Congo.
Elements
from different parts of Africa blended in the New World. In Cuba, the
Yoruban sacred dances are usually played on the Yoruban-derived batá,
but may be performed instead by an ensemble combining shekere gourds (West
African) with a conga drum (Congolese). Transverse drumming with sticks
on the side occurs in Cuban abakuá ceremonies (Vélez 2000:
18-19), but abakuá is considered to be from the area of northwestern
Cameroon and southeastern Nigeria, not Congo/Angola. Intra-African streams
of influence are also important. I am aware of one style of transverse
drumming from outside the Congo/Angola area, gome, from Ghana. (In
this case the drum is square rather than barrel-shaped, and sticks are not
played on the side.) However, gome is said to have been brought to
Ghana by Liberian Kru sailors, who, in turn, may have picked up the idea
from their travels to the Congo/Angola region (Kofi Anang, personal communication).
We
should beware of first impressions. Martinican choreographer Josy Michalon
visited Benin, saw young men doing a form of wrestling called kadjia, and
decided this was the origin of the martial art/dance danmyé, which
also features wrestling and which is also called ladja (Michalon 1987: 39).
Yet wrestling is a popular young men's sport throughout West and Central
Africa. Michalon offers no evidence, apart from the coincidence of
the similar name, that Benin was the specific source.
We
should also not neglect European influences. I have spoken of African
antecedents of martial arts dances but have omitted the old French kick-boxing
form, savate. Southern U.S. buck dancing appears to fit the African
solo male challenge/display type, but what about flat foot, its white counterpart?
Some square dances in the United States include a counter-clockwise, circular
procession by partners, similar to the counter-clockwise circles of West Africa.
One of the most seemingly African moments in Martinique's North Atlantic
belair is the monté tanbou ("approach to the drum") performed by each
couple in turn, a dramatic climax to the dance. Trinidadian Carnival
calinda also contained (in mid-20th century accounts) such moments: "men
and women ëhook' dancing up to a stage where the drummers were playing.
The partners bowed three times, danced back and wound down to the ground"
(Cowley n.d.: 9). But European and American contradances may also include
a salute to the musicians, performed by each couple in turn.
Conversely,
what appears to be European influence may not be. I have suggested that
the line formation of Labat's kalenda stemmed from French contradance, yet
a very similar danceólines of dancers bumping belliesówas reported
from the Bakongo area in the late 1800s (J.H. Weeks 1882, in Cyrille 2002:
229, 238). Of course, by that date European contradances may have reached
Central Africa as well.
I
especially want to avoid the impression that a single proto-Caribbean dance
gave rise to the rest. This notion informs a great deal of popular
literature, tourist performance, and even scholarship throughout the circum-Caribbean.
Kalenda in particular, with its many historical references and its eroticized,
romanticized re-creations by tourist troupes, is put into this role (e.g.,
Rosemain 1990, 1993). But we should not jump to the conclusion that
every time we see the name "kalenda" we are reading about the same dance.
A fresh approach would treat the labels attached by early chroniclers (kalenda,
chica, etc.) with caution, and look instead at the details of the descriptions.
If all mentions of circles and lines, or of sexuality, are not assumed to
be the same, then we may begin to track a range of expression, a welter
of creativity, that passed from island to island and was adapted into distinctive
forms. The result might be less conclusive, but more accurate, and
liberating in a different fashion.
The
web of names and descriptions in the historical record is indeed striking,
and begs for an interpretation. I hope that this article has made a
start, as well as shown the complexity of the project.
Acknowledgements
I owe many thanks to John Cowley and Dominique Cyrille for allowing me to
share their knowledge and insights, and in John's case the unpublished manuscript
from which I have drawn several references. Ken Bilby read an early
draft of this chapter and provided many pertinent comments. Richard
Price and the anonymous reader of New West Indies Guide provided corrections
and suggestions on the submitted manuscript. In Martinique, as ever,
many people have aided my research, particularly Paulo and Mayotte Rastocle,
Siméline Rangon, Daniel Bardury, Etienne Jean-Baptiste, Maria Vincente-Fatna,
Charly Labinsky, Georges and Pierre Dru and the members of AM4.
Notes
1. Kalenda
is spelled kalinda, calenda or calinda on different islands. For the
sake of simplicity I will use the Martinican Creole spelling, except in quotes.
2. In tracing streams
of musical influence and the spread of early transculturated dances, this
article may recall the diffusionist studies that were prominent before World
War II in anthropology and ethnomusicology. These studies often proved
inconclusive, and fell out of favor as researchers turned towards deeper,
"thick" explorations of single cultures. Recently, as new approaches
to investigating oral cultures have created stronger bodies of evidence, a
few researchers have returned to diffusionist/historical methodology (e.g.,
Kubik 1994; Thompson 1993).
Among these latter, a trenchant article by Samuel Floyd (1999) tackles widespread
patterns in circum-Caribbean music. Floyd sensibly warns against easy
conclusions: "In studying this music, its constitution as a large, complex,
and tangled array of musical genres Ö becomes apparent Ö quite distinctive
but identically named genres reside simultaneously in [different] geographical
locations" (1999: 2-3). Floyd's approach to sorting through the material
is by a combination of rhythmic motif (the "cinquillo-tresillo complex";
cf. Pérez Fernández 1986) and by name (the "calenda complex").
In effect, his approach seems to distinguish, respectively, the music of
the large, Spanish-speaking islands from that of the smaller, Creole- and
English-speaking eastern Antilles. Floyd seems to base this distinction
as much on contemporary music as colonial, dwelling on son in the Hispanic
islands and calypso in the others. I am not sure that the result is
either historically or musically justified. However, I admire Floyd's
collecting and sorting through rhythmic motifs, and his overall projectóestablishing
criteria for a reliable comparative approachóis akin to my own.
3. Another report from a
traveler to Haiti in 1799-1803 also mentions kalenda (Descourtilz, in Emery
1988: 23).
4. Today's dance may have
acquired its name from its most popular song, also called "Mabelo."
The song an extended pun on the game of marbles ("mabelo" in Martinican Creole).
The words praise the prettiness of the "marble" and invite you to flick yours
into the circle: "vini meté adan," "come put it inside."
5. Another reference to kalenda
as a line dance may be found in Allen, Ware, and Garrison's 1867 Slave Songs
of the United States, which includes a "calinda" annotated, "The ëcalinda'
was a sort of contra-dance, which has now passed entirely out of use" (Cowley
n.d.: 7). However, this is not really a separate and corroborating source;
the song was contributed to Slave Songs by Cable.
6. On the other hand, Cable
was among the group of white folklorists and scholars who, during Reconstruction,
initiated serious research into black American culture. Besides contributing
to the first major study of African American music, Slave Songs of the United
States (see note 5), Cable collaborated with two other New Orleans writers-cum-folklorists,
Lafcadio Hearn (who also lived and wrote in Martinique) and Henry H. Krehbiel
(Katz 1969: 31).
7. St.-Méry may have
intended to portray differences between these dances as racial rather than
choreographic. His discussion of kalenda is in a section devoted to
black dances (1976 [1796]: 56), while chica appears in a passage on creoles
(ibid.: 60). In this context, "creole" could mean either whites born
in the Caribbean (the original sense of the word), people of mixed blood,
or perhaps people of Spanish descent, cf. Bremer's reference to chica in
1840s-50s Cuba (in Emery 1988: 26). St.-Méry does not state
which meaning he intends.
8. Crowell (2002: 16) cites
a similar account from Peru in 1763.
9. Mukuna lists sixteen styles
of Brazilian dance with ombigada, including lundu, samba de roda, and batuque
(1978: 74). Some are different regional versions of the same dances.
Mukuna considers these dances to be of Bantu origin, a point to which I will
return.
10. Yuka's claim to rumba
ancestry is based on the similarity of the choreography and musical ensemble
(one-headed barrel drums played with the hands, i.e., congas). According
to Vélez, makuta, a dance related to yuka in that both are considered
Congolese, also uses the pelvic thrust (Veléz 2000: 65).
11. Even in Emery (1988)
and Epstein (1977), kalenda is treated first and in the most depth, though
the erotic fetishism is lacking. See Maurer 1991 for a discussion of some
issues of problematic stereotyping in Caribbean dance scholarship.
12. It is worth repeating
that a focus on eroticism in black New World dance and music was an obsession
of white observers rather than of the performers themselves. In a parallel
article to this one (Gerstin in press), I examine ways in which dance served
white hegemony as a key trope of black identity, a way in which blackness
could be delimited and to a certain extent controlledóalthough an
important aspect of the trope is that black eroticism cannot be entirely
controlled. See Browning (1998) for an insightful study of recent ways
in which this trope has resurfaced. Another aspect of the trope is
its reductionism, that is, the extent to which black people became visible
to whites only as carriers of dance and music.
13. The distinction may simply
have lain in the eye of the beholders, Labat the righteous priest versus
St.-Méry the cosmopolitan traveler. St.-Méry was not
afraid to describe eroticism when he saw it; he called chica "lascivious"
and "voluptuous." He simply did not see kalenda as outstandingly erotic.
14. Martinican dance instructors
are specific about the contact: it should be strong, not timid, so
the force of the blow must be distributed; and this means it is not simply
a pelvic thrust. As one teacher, Pierre Dru, puts it, "If you go around
thrusting your pelvis at people you'll hurt yourself."
15. The subject of stick-fighting
kalenda leads to the larger theme of martial art dances throughout the Caribbean
world: man' in Cubaósaid to be of Congolese origin (Daniel 2002: 35;
Veléz 2000: 64-65) (Daniel 2002: 35; Veléz 2000: 64-65); mayolè,
sovéyan and bènaden (three different forms of stylized
wrestling) in Guadeloupe (Bertrand 1966a: 21; Gabali 1980: 137-8; Guilbault
1998b: 876; Uri and Uri 1991: 79-90); danmyé (a.k.a. ladja) in Martinique,
kokomakaku in Curaçao (Christa 2002: 298), broma in Venezuela (Fryer
2000: 29), "knocking and kicking" from the Sea Islands of the southeastern
United States (ibid.). In Brazil there is both a stick-fighting dance,
maculelê, and a combat dance without sticks, capoeira.
16. McDaniel lists three
kalendas in Carriacou's Big Drum: Old Kalenda, Woman Kalenda and Trinidad
Kalenda (1998a: 19). Of Trinidad Kalenda, Pearse writes, "This is a
Trinidad stick-fighting song appropriated to the Big Drum Dance, when it
is not, of course, used for stick-fighting" (1956: 6).
17. According to Barton the
name of Puerto Rican stick fighting, which is one variation of the sicá
style of bomba, is cocobalé (Barton 2002: 189).
18. Actually, Gabali mentions
a Guadeloupean stick-fighting art twice, one time calling it calinda and
the other time konvalen (1980: 91, 109). Perhaps Gabali is simply assimilating
Guadeloupean stick fighting to the better-known Trinidadian style.
19. The Martinican dance
larivyè léza, which used to be performed at communal house-raisings,
may have been a stick fight, but it may simply have been work music (AM4
1992b: 59; cf. the song "La Rivyè Léza" on Gerstin and Cyrille
2001). On the other hand larivyé léza was found along
Martinique's North Caribbean coast near the city of St.-Pierre, an
area of which Hearn often wrote; this lends Hearn's brief mention some credence.
Recently, cultural activists in Martinique have reconstructed distinct larivyè
léza substyles for stick fighting and house-raisings, as well as forms
of kalenda for both stick fighting (jé baton or konbat baton)
and mimed stick fighting (AM4 2003; Pierre Dru, Daniel Bardury, Maria Vincente-Fatna:
personal communications). However even among these researchers, these
reconstructions have been controversial.
20. Latrobe does not name
the dances he saw, which he happened upon by accident when out for a walk.
Another report on Congo Square dancing, from 1808, names the dance done there
as bamboula (Laussat, in Epstein 1977: 84).
21. Rosemain is vague as
to whether the term "bamboula" was used in Martinique as well as Guadeloupe
(e.g., 1986: 50-51, 53). The only specific reference I have found to
bamboula in Martinique is from the contemporary research group AM4, which
describes bamboula as a drumming competition (AM4 1992a: 96). AM4's
citation is taken from an anecdote recounted by Hearn, who claims to have
heard it from an old drummer (Hearn 1923: 82). I would prefer more
supporting evidence than this.
22. McDaniel mentions that
one Juba song, "Le Oue Mwe La," is danced by two women, like Latrobe's dance
and the bamboula of St. Thomas (1998a: 185). Perhaps Carriacou's Woman
Kalenda is also a female couple dance.
23. Patting Juba often accompanied
buck dancing, a solo male competitive/display style. The minstrel entertainer
William Henry Lane billed himself as Master Juba, and, since minstrel dancing
was based on buck dancing, Lane perhaps took his stage name from that source.
But Juba may also have been a character of folklore; he appears, for example,
in a 1793 ballad (Hamm 1979: 110). This does not clarify the connection
between southern U.S. patting Juba and the Caribbean drum dance djouba.
A similar conundrum is posed by Cuban friends who have suggested to me that
the "yuba" of tumba francesa derives from the Yoruba word moyuba, "praise,"
as in a Santeria song to the deity Elegguá that begins, "Moyuba, moyuba
orisa." However, since yuba belongs to the tumba francesa complex, a
derivation from "djouba" seems more likely. I will argue in this article
for a Central African (Congolese) rather than West African origin for many
of the early Caribbean musical traits, including both djouba and tumba francesa.
24. Here I use the French
spelling, since the various Creole orthographies are so different.
25. Here I am distinguishing
Roberts' term "neo-African" from "creole": "neo-African" suggests dance and
music synthesized by slaves from African sources, retaining its identification
with Africa if not with specific African ethnic groups; "creole" indicates
dance and music that has been further indigenized, and which is identified
as local. All the dances known as belair have taken this second step.
26. Old Kalenda, a dance
incorporating some stick-fighting movements, is distinct from Trinidad Kalenda,
which incorporates a Trinidadian stick-fighting song (see note 16).
27. Martinique's North Atlantic
coast is the part of the island closest to Guadeloupe, and there may be an
historical connection between Guadeloupean gwoka and the North Atlantic kalenda
(AM4 1992a: 77).
28. In southern Martinique
there may also have been a solo display kalenda close to that of the North
Atlantic, and distinct from the kalenda du sud dance of the southern belair
genre. However, if this dance existed, it is "scarcely remembered"
(AM4 1992b: 58).
29. Cable's discussion of
kalenda songs and musical instruments is extensive (unlike his very brief
account of kalenda as a dance) and he seems to have been familiar with these
songs firsthand. Cowley (n.d.: 10) notes that the calinda song transcribed
by Cable for Allen, Ware and Garrison's 1867 Slave Songs of the United States
may also be found in Henry Edward Krehbiel's 1914 Afro-American Folksongs
and in a 1930s collection, Irène Thérèse Whitfield's
Louisiana French Folk Songs. These versions differ from one another,
suggesting that they were collected from multiple sources. This, in
turn, lends credence to the idea of calinda as a widespread Creole/African
American song form.
30. In light of the connection
of these dances to the Central African region, to be discussed below, it
is worth noting Bastide's contention that Bantu influence in the New World
survives more strongly in secular folklore than in organized religion (1971:
11, 105-106). By and large, I have omitted discussion of
the many Central African-derived religious groups and quasi-religious "nations"
scattered throughout the New World and named Congo; they have little to do
with the kalenda, bamboula, djouba, chica or belair dance complexes, which
are primarily secular.
31. Lafontaine (1986) suggests
that at Guadeloupean wakes, kont and boula djel exist in symbolic opposition
to the sacred: they are performed outside by men, in contrast to hymns sung
indoors by women.
32. In the Barlovento area,
the tall mina drum is leant against a wooden support and the drummer stands
to play, in the manner of Ewe atsimevu drumming in Ghana, but palos are still
played on the side (Brandt 1994: 271; 1998: 526-528).
33. Some Guadeloupean musicians
say the practice was recently copied from Martinique, and some Martinican
musicians say the opposite. I have seen tibwa played on bamboo in the
Martinican work music gran son (part of the lasoté communal work party)
and the merry-go-round tradition chouval bwa, so I believe it is traditional
on that island.
34. Sticks may also be played
as accompaniment on various other objects. One traveler to the British
West Indies wrote, in 1793, "In general they prefer a loud and long-continued
noise to the finest harmony, and frequently consume the whole night in beating
on a board with a stick. This is in fact one of their chief musical
instruments" (Edwards, in Abrahams and Szwed 1983: 292). Another
describes a kitty-katty, "nothing but a flat piece of board beat upon by two
sticks"(Lewis 1815-1817, in Abrahams and Szwed 1983: 295; Emery 1988: 18).
The term "kitty-katty" may be a form of catta or kata. Similarly, a
1790 report from Jamaica mentions "a cotter, upon which they beat with sticks"
(Beckford, in Abrahams and Szwed 1983: 289).
I also have references to sticks played on a piece of wood for the Haitian
stick fight mousondi/kalenda (Courlander 1960: 131-132); and on a board (kwakwa)
among the Aluku of French Guiana (Bilby 1989: 57) and the Surinamese Maroons
(Herskovits and Herskovits 1969: 522). The Herskovits' note repeats
a reference from Surinam in 1796 to a "qua-qua" board played in conjunction
with transverse drumming (Stedman, in Abrahams and Szwed 1983: 283-284).
A bench or stool (tibwa) is used for kanmougé and kaseko among urban
creoles of French Guiana (Agarande 1989: 100), a bench (kwakwa) by urban creoles
of Suriname (Herskovits and Herskovits 1969: 522). In Jamaica, a bamboo
bench or building support (kwat) may be used when a free piece of bamboo
is unavailable (Kenneth Bilby, personal communication).
35. One last example of a
connection between djouba and belair: Haitian djouba/tanbou matinik is the
dance of the peasant lwa Zaka, who typically presents himself in farmer's
clothing and carries a machete. In Martinique the dance mabelo, described
below as the contemporary form of Labat's kalendaóa line dance with
pelvic contactóis sometimes performed in Carnival and by tourist troupes
under the name négryé or danse de la canne (dance of the cane):
the dancers appear as cane-cutters, the men carrying stalks of sugarcane and
machetes. In Cuba, the Congolese-derived yuka dance is sometimes done
with sugarcane stalks and machetes (Vélez 2000: 65).
36. Additional circum-Caribbean
dance and music terms that would expand upon this article, but that I have
not yet had the opportunity to collect systematically, include La Rose (léwoz),
masón, ka, cata (catá, catta, cotter, cutter), piké (pitché),
graj (grajé), gombay (gumbay, goombay), and tumba. Other terms
such as shak-shak (Crowley 1958) and banjo (Epstein 1977) have already received
such treatment.
37. Folk etymology compounds
the problem of polysemy, but researchers cannot seem to resist tackling the
subject. For example, does the Guadeloupean term "gwoka" derive from
French gros ka, "big quart," the rum barrels from which gwoka drums are made
(Rosemain 1986: 102), or from Bantu ngoka or ngoma (drum, drum dance) (Gabali
1980: 91-6)? Does "bèlè" come from French bel air, "pretty
tune," or Kongo boela, a dance, or Kikongo mbele, "sword" (Cyrille 2002: 241)?
Controversy over the provenance for names often reflects, as in these examples,
a desire to stress either European or African heritage.
38. For general studies discussing
Central African contributions to New World music, dance and other arts, see
Bastide 1971; Crowell 2002; Kubik 1990, 1994; Thompson 1993.
39. Apropos of a possible
Congolese etymology for chica, Kenneth Bilby suggests: "In KiKongo, the verb
usually used to mean ëplay' (as in to play an instrument) is sika.
(In the Jamaican Kumina Kongo language, ësika ngoma' = ëto play
the drum; to hold a dance' Ö) The word-initial phonological shift
from /s/ to /sh/ is fairly common in New World creole languages" (Bilby:
personal communication). Sicá is also the name of a major Puerto
Rican bomba rhythm.
40. Rumba, yuka and makuta
are distinct in Cuban thought from dances of Yoruban origin; e.g. those of
the Santeria religion. Drums for the latter include double-headed,
hourglass-shaped batá drums and small, stick-played Arará drums,
bothof Yoruban origin and quite different from the congas used in the Congolese
dances.
41. The drums used in the
Haitian stick fight mousondi/kalenda are also called congo (Courlander 1960:
131-132), and mousondi is associated with the Congo nation of vodoun (ibid.:
133). Trinidadian belair, known also as djouba (Herskovits and Herskovits
1964: 159), is considered to be Congolese (ibid.: 284). The baile de
tambor of Panama is performed by dance groups known as Congo (Smith 1985:
192-195).
42. According to Curtin,
over the course of the slave trade as a whole, the Portuguese brought a total
of 3,646,800 Africans to the New World, the British 1,665,000 to the Caribbean
and another 399,000 to North America, and the French 1,600,200 to their Caribbean
colonies (1969: 268).
43. According to Eltis et
al. (1999), the first slaves brought to the New World on French ships were
from the Bight of Benin, not Senegambia, in 1670.
44. Other authors do not
place the French in West Africa until about 1710 (B. David 1973: 61; Stein
1979: 78-79) nor in the Congo-Angola area until about 1730 (Rawley 1981:
130; Thomas 1997: 228). According to some authors (Fryer 2000: 5-6;
Rogozinski 1994: 125), the center of slaving activity moved north again to
the Slave Coast and the Bight of Benin in the late 1700s and early 1800s,
but this may be more accurate for British than French slaving, as data on
the French trade from Eltis et al. (199) does not bear it out . My
Eltis et al. (1999) data was generated by searching for numbers of slaves
disembarked from French ships, by 25-year period. Note that this is
not the total for all ships arriving at French destinations, nor does it
include inter-island trade between French possessions.
45. Regional totals from
Eltis, et al. (1999) for slaves arriving in the New World on French ships
in 1701-1800 are: Senegambia 52,169, Sierra Leone 22,192, Windward Coast
10,370, Gold Coast 34,502, Bight of Benin 218,364, Bight of Biafra 38,857,
West-Central Africa (Congo-Angola) 333,013, Southeast Africa 23,073.
46. Figures from other authors
differ from those of Eltis et al. (1999). For example, according to
Stein, in 1711-1720, French traders took 10,300 Africans from the Senegambia
and 3,200 from Angola (1979: 12). However, other authors agree that
the number of Senegambian slaves declined steadily while the Angolan trade
increased. The best totals I have discovered from other authors place
the total of slaves taken by the French in 1711-1800 at Senegambia 77,100,
Windward Coast 160,800, Gold Coast 146,700, Bight of Benin 175,500, and Central
Africa 342,300 (Curtin 1969: 170; see also Rawley 1981: 129; Stein 1979:
23, 26, 211). Note that these are figures for slaves departing Africa,
while my figures from Eltis et al. (1999) are for slaves disembarked in the
New World.
47. For example, in Saint
Domingue French ships disembarked a total of 669,052 slaves and British ships
4,864; in Martinique, 109,816 and 36,128, respectively. In Guadeloupe
the situation was reversed, with British ships bringing 29,952 and French
19,609. In the Guianas British ships brought 92,756 and French ships
15,378, but these figures do not distinguish traffic to French and British
Guiana (Eltis et al. 1999).
48. Data from Eltis et al.
(1999) places the shift from Martinique to Saint Domingue a bit earlier,
in the 1701-1725 period.
49. John Storm Roberts makes
a parallel suggestion specifically regarding early musical transculturations:
early musical adaptations spread rapidly and "provided the basis for the
enduring elements in many mainstream Afro-American forms" (Roberts 1972:
58).
The question of whether African retentions or New World creolizations account
for various black New World culture traits has been of longstanding interest.
The model of creative adaptation (creolization, transculturation) has dominated
in recent years (see, e.g., Mintz and Price 1992). Eltis (2000) makes
a case for a greater homogeneity of African point of origin, and thus a greater
likelihood of direct retention, than previously thought. It is not
my intent to get involved directly in this debate, but rather to look for
references to music and dance connections, and, having found these, to treat
them carefully. My thesis draws from both sides of the debate: I view
early neo-African dances as creolizations, but also see some evidence for
specific Central African origins.
50. However, in these cases
kalenda may have been a generic French label for multiple dances. And
it is well to remember that French contradance spread just as quickly during
the same time period, and was as quickly shaped into creole versions.
51. In addition, the Martinican
figures include 293 captives from undetermined areas; the Surinamese
include 954 from Bight of Biafra, 688 from the Gold Coast, and 4,046 from
undetermined areas. Note that these are numbers for slaves leaving
Africa, not arriving in the New World. These figures were generated
by searching Eltis et al. (1999) for numbers embarked to Martinique, Surinam,
etc. by African region, by 5-year period from 1661 to 1710.
52. Fryer's study of Brazil
(2002) may serve as a model for examining origins without reductionism.
Fryer traces the spread of batuque, an early Brazilian dance that was Congolese-derived
and featured couples in a circle, pelvic isolation and touching. By
the late 1700s batuque had spread to Brazil's poor white population and began
to appear in a cleaned-up version in the salons of major cities, under the
name lundu. Lundu became so popular that it is widely described as
Brazil's first "national" dance (2000: 98, 102, 119-121). During the
19th century lundu acquired a new sung component, the modinha (ibid.:
142-147), which had developed in Lisbon as well as Brazil. The dance
then incorporated aspects of new salon dances arriving in Brazil from abroad,
polka after 1845 and Cuban habañera after 1860, emerging as the late-19th
century dance craze maxixe, which in the early 20th century became a dance
craze in Europe and the United States (ibid.: 154). Maxixe, re-Africanized
through popularization among the poor and through recordings, and by the
reincorporation of a primarily percussive orchestra, became modern samba
(ibid.: 155-157).
The history of batuque/lundu/modinha/maxixe/samba is not only one of transatlantic
and cross-racial fusion, fascinating though that is. It is also a demonstration
of the limits of claims for singular origins. Fryer makes the case
that batuque was a neo-African fusion similar, in its derivation, choreography
and instrumentation, to many other black dances of the New World; and he
demonstrates that batuque was tremendously important to later dance developments.
He does not, however, claim that batuque was the sole direct ancestor of
all later dances.
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