Download - A Study of the Music of Selected Traditional Folk Dances of St. Lucia

A Study of the music of selected traditional folk dances of St. Lucia by Jason C. Joseph (2006). UWI, St. Augustine.

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TABLE OF COTETS

ABSTRACT ....................................................................................................................... 3

ACKOWLEDGEMETS .............................................................................................. 4

CHAPTER 1 ...................................................................................................................... 5

INTRODUCTION ................................................................................................................. 5

Significance of the study .............................................................................................. 6

CHAPTER 2 ...................................................................................................................... 8

LITERATURE REVIEW ....................................................................................................... 8

CHAPTER 3 .................................................................................................................... 10

THE SHAPING OF ST. LUCIA’S FOLK CULTURE ............................................................... 10

The folk music of Saint Lucia .................................................................................... 11

The Origin of St. Lucia’s Traditional folk Dances .................................................... 12

The Revival of St. Lucia’s Folk Music ...................................................................... 13

The St. Lucian Folk Band .......................................................................................... 15

The Folk Musicians ................................................................................................... 16

CHAPTER 4 .................................................................................................................... 18

METHODOLOGY.............................................................................................................. 18

Limitations ................................................................................................................. 18

CHAPTER 5 .................................................................................................................... 20

A CLOSER LOOK AT THE TRADITIONAL FOLK DANCES OF ST. LUCIA ............................ 20

The La Konmet .......................................................................................................... 21

The Moulala .............................................................................................................. 21

The schottische .......................................................................................................... 22

The Weedova ............................................................................................................. 23

The Italian Polka ....................................................................................................... 23

The Kwibish ............................................................................................................... 24


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CHAPTER 6 .................................................................................................................... 25

ANALYSIS OF THE MUSIC OF SELECTED TRADITIONAL DANCES..................................... 25

Lakonmét Pitjé .......................................................................................................... 25

Lakonmét Mazouk ..................................................................................................... 26

The Schottish (Shoddish) ........................................................................................... 28

The Moulala .............................................................................................................. 29

The Weedova ............................................................................................................. 31

The Polka .................................................................................................................. 32

The Kwibish ............................................................................................................... 34

CHAPTER 7 .................................................................................................................... 36

COCLUSIO ................................................................................................................ 36

RECOMMENDATIONS ...................................................................................................... 37

APPEDIX A .................................................................................................................. 38

EXCERPTS OF TRADITIONAL FOLK MUSIC ...................................................................... 38

APPEDIX B .................................................................................................................. 48

TRADITIONAL FOLK WEAR OF ST. LUCIA........................................................................ 48

GLOSSARY ..................................................................................................................... 49

BIBLIOGRAPHY ........................................................................................................... 50

ITERET SOURCES .................................................................................................. 51

LIST OF RECORDIGS COSULTED ..................................................................... 51


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Abstract

The traditional dances of St. Lucia are all adaptations of European dances, which have remained

a part of the folk culture of the island from since the emancipation of slavery. At present, there is

little interest among average St. Lucians in the traditional dances and folk music, despite efforts

by various groups and folk activists to revive what was once a dying culture.

The selected dances – lakonmèt, moulala, schottische (shoddish), polka, weedova and kwibish –

are all partnered, ballroom-type dances and are usually accompanied by a folk or “string” band.

The main instruments used in a folk band are the violin, banjo, chak chak, guitar and

occasionally the tanbou. Those instruments are played by men who are over forty years of age

and who generally possess no formal or theoretical training.

In the limited repertoire of dance music that is used, both European and African influences can

be found. The simple harmonies, syncopated rhythms and short, repetitive melodic phrases are

some of the features associated with the music. Each dance has its own characteristic rhythm,

which is played by the two main instruments – the banjo and the chak chak.


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Acknowledgements

The writer would like to express sincere gratitude to George “Fish” Alphonse at the Department

of Culture in St. Lucia and Kennedy “Boots” Samuel at the St. Lucia Folk Research Centre for

their guidance and advice, which helped to clarify the focus of this research. In addition, the

writer would like to acknowledge Minetta Plummer, the librarian at the St. Lucia School of

Music, for her patience, and Satanand Sharma, a senior lecturer at the Department of Music,

University of the West Indies, for his assistance with the Finale music notation software. To all

the musicians, dancers and informants (Frank Norville, Theresa Hall, Augustin “Charlie” Julian,

Joan Hyacinth), who willingly gave of their time, your valuable contribution towards the

preservation and development of St. Lucia’s folk heritage, then and now, is greatly appreciated.


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Chapter 1

Introduction

Prior to about 1970, the folk dancing tradition of St. Lucia was popular mainly in the rural

communities at special functions and “kwadril evenings”.1 With the assistance and perseverance

of various groups and cultural activists there has been a revival in the tradition to a point where it

is acknowledged on a national level. Performances of these traditional dances can now be seen at

hotels and official government functions. Classes and workshops are occasionally held to train

the younger members of society in an attempt to ensure the perpetuation of the art form.

This has resulted in an increased awareness of the dances among the public. However, there are

many who are still unable to recognize even the more popular of the dances, like the Lakonmèt

Pitjé.2 The folk dances and folk music are still viewed today as belonging to the “older”

generation and according to Joan Hyacinth, a dance activist, it is only “…when students travel to

universities they see the importance (of the folk dances).3 The folk bands still consist of mainly

middle aged or elderly musicians who are underpaid for their services in comparison to other pop

bands. The teaching of the folk instruments, the music, and the dances at schools, is generally

non-existent and folk music is rarely played, even during cultural activities and celebrations.

1 Jocelyne Guillibaut. Events in the Lives of the People of a Caribbean Island, St. Lucia. University of Michigan

1984. pg 92 Kwadril evenings were dance sessions at which the kwadril and other traditional dances were danced.

2 Earl Agdoma Interview. 16

th January 2006. Earl Agdoma is a founding member of the “Helen Folk Dancers”

3 Joan Hyacinth Interview. 23

rd December 2005. Joan Hyacinth is one of the early members of “Les Danceurs

Tradicionale de St. Licie”


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There are many who believe that the folk music on the whole is grossly neglected and only

receives “lip service” from the relevant authorities.4 The American Country and Western music,

on the other hand, has become increasingly popular, even among the youth, and dances are held

almost every weekend throughout the country.

Significance of the study

The writer, being a folk enthusiast, has always held the view that the popularity of the folk

dances would increase and the music would be better appreciated if new music was discovered

and created. The limited repertoire of music, which is currently used for folk dancing, has

remained the same for many years and one would naturally get tired of hearing the same songs

and the same recordings being played. In some instances, there is only one known song for

certain dances – an example of this being the kwibish.

Although there have been many attempts by local musicians to fuse folk rhythms with their

compositions and arrangements, very little has been done in the way of composing new material

in the styles of the various traditional dances. One of St. Lucia’s renowned Jazz musicians,

Ronald “Boo” Hinkson, admitted to using some stylistic features of the dances only “in a subtle

manner” in his strumming patterns.5 The lakonmèt seems to be the only dance, which has

received attention from composers, leading the writer to the belief that local musicians are

generally unfamiliar with the other dances.

4 Earl Agdoma Interview. 16

th January 2006

5 Ronald “Boo” Hinkson Interview. 23

rd December 2005.


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It is hoped that this research will be of value, particularly to music educators and local musicians,

in stimulating the exploration and development of St. Lucia’s traditional dance music.

There are about nine known traditional dances of St. Lucia. Six of them will be discussed in the

subsequent chapters: lakonmèt, moulala, schottische, weedova, polka and kwibish. These dances

were selected because the music to which they are danced each has its own unique style and

musical features. Other traditional dances, like the gwan won and <orwegian, are not associated

with any particular style of music and can be danced using any type of up-tempo music.

Therefore, they were not selected. The kwadril, which is another popular folk dance, is complex

and contains four “figures” or sections. In order to analyse this dance it would be necessary for

both the writer and the reader to understand the intricacies of the dance patterns. For this reason,

it was omitted. There are a number of other dances commonly referred to as “ethnic” dances,

which are also part of St. Lucia’s folk culture. These include Solo, Belair Kont, Kutumba, Débot

and Piquant. These dances are accompanied by mainly drums and lack the form and

instrumentation of the traditional European dances. Hence, they were also omitted.


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Chapter 2

Literature Review

There is currently some research by Jocelyne Guilbault on several aspects of St. Lucia’s musical

folk traditions.6 The thesis contains a detailed analysis of the kwadril and some general

characteristics of the lakonmèt Pitjé. These two dances are categorized in her research as

“musical styles” of St. Lucia, along with other styles, such as omans. manpa and the March.

Some ethnic songs and dances, including débòt, yonbòt, solo song, jwé pòté and chanté kont are

also discussed.

The thesis also explores many other facets of St. Lucia’s folk culture, such as the La Rose and La

Maguerite seyances, the folk instruments and musicians, and the various categories of St. Lucian

folk music.

Jocelyne Guilbault’s research has served as a main source of reference for another related thesis

by Anne Marie Small-Biroo, a graduate of the University of the West Indies in Trinidad. In her

undergraduate thesis7, Biroo (2004) examines the work of Charles Cadet – a prominent St.

Lucian composer who has been credited for his contribution towards the development of folk

6 Jocelyne Guilbault. Events in the Lives of the People of a Caribbean Island, St. Lucia. University of Michigan,

1984.

7 Anne Marie Small-Biroo. Biography of Charles Cadet and his Contribution to the Music of St. Lucia. University

of the West Indies, 2004


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music in St. Lucia. In Biroo’s thesis, references to the lakonmèt Pitjé and other musical styles

outlined by Guilbault are also made.

A publication by one of St. Lucia’s folk musicians and folk activists, Frank Norville, contains

valuable research on the folk dances of St. Lucia.8 In this document, Frank Norville makes a

distinction between St. Lucia’s traditional and ethnic dances – a distinction that is also adhered to

in this thesis.

Previous research has also been done on St. Lucia’s traditional wear in the form of a handbook

compiled by the “Helen Folk Dancers” of St. Lucia.9 In this unpublished book, the two main

traditional dresses – the wòb dwiyèt and the jip, are described.

In the following pages, the writer of this thesis also draws several references from previous

research of individuals mentioned in this chapter. The work of Jocelyn Guilbault, in particular,

was very useful and served as a foundation for this thesis.

8 Frank Norville. Folk Dances of St. Lucia Traditional and Ethnic: The Voice Press.

9 Helen Folk Dancers. Perpetuation of Culture for the Future


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Chapter 3

The Shaping of St. Lucia’s Folk Culture

“…Each island’s cultural traditions are shaped not only by the traditions of the original

island peoples (the Indians and the African tribes from which the slaves were taken), but

also by the nationalities of the colonizers and the length of the colonizing period.” 10

St. Lucia has a unique history of being one of the most sought after islands of the Caribbean.

Several battles were fought between colonies to gain ownership of the island. From as early as

1642, the French West Indies Company established a colony on the island and eventually took

over the Caribs in 1660.11 From then on “it became a regular see-saw between the British and

French.”12 It is said that St. Lucia changed hands for the 14

th and final time in 1814 when it was

ceded to Britain by the treaty of Paris.

During the 150-year period of French ownership (1600 – 1750), St. Lucia began to form a

distinctive culture and the patois language, also known today as kwéyol, developed.13

10 Olive Lewin. “Banana Boat Song Forever?” Come Make Me Hol’ Yuh Han’: The impact of Tourism on

Traditional Music. (Jamaica: Jamaica Memory Bank 1986) pg19

11 John H. Pilgrim, Snippets of St. Lucia’s History. (Castries: The Standard. 1975) pg 1

12 Ibid pg 2

13 Collin Brock, Caribbean Communities: A Social studies series for secondary schools. (Mac Millan Education

Ltd. 1976) pg 29


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Like other Caribbean islands, Africans who were brought to St. Lucia during the slavery period

also brought with them their way of life. Despite attempts by the European slave masters to

preclude the cultural expressions of the slaves and to promote their own culture, the slaves still

persisted, maintaining a strong tradition of music and dance. It was only after the abolition of

slavery, however, that the folk tradition was allowed to unfold openly and become part of a

“common heritage”.14

The folk music of Saint Lucia

Saint Lucia’s folk music has been categorized into four main groups:15

1. Songs, which are sung at the country’s two unique flower festivals – La Rose, celebrated

on 30th August and La Maguerite, celebrated on 17

th October. Those songs, usually sung

by a “chantwel” (leader) and choir, are of various styles and “bear the stamp of Afro-

American music.”16

2. Jwé Songs. These are mainly recreational or work songs but also include love songs and

some of the ethnic dances.

3. The music of the traditional folk dances played during kwadril evenings.


15 Jocelyne Guilbaut, Events in the Lives of the People of a Caribbean Island, St. Lucia. (University of Michigan

1984) pg 92



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4. Wake celebrations. These include songs and dances, which are done during a wake,

such as hymns, the kutumba dance, and an extemporized folk form referred to as konte.

The Origin of St. Lucia’s Traditional folk Dances

The term “folk dance” is used to describe a wide variety of dances, which share similar

characteristics. Folk dances were originally done somewhere around the 19th century and they

are considered an “inherited tradition”.17 There was little innovation in the dances and common

people danced them. Those dances are not owned by any governing body, neither have they been

copyrighted. “In many cases their origin cannot be discovered”.18

European folk dances were “egalitarian events” and “public affairs” 19 and most of the dances

were graceful in nature. Some were partnered dances, while others were danced in groups,

usually in a square or circle. In much the same way that the Africans carried their traditions with

them to the West Indies, so did the slave owners and European elite. The European dances were

introduced into the new world by the elite, who made frequent trips to Europe, and also by their

children who studied there.20

17 “Folk dance.” Wikipedia, The Free Encyclopedia. 15 Dec 2005, 08:53 UTC. 18 Dec 2005, 21:03

http://en.wikipedia.org/w/index.php?title=31446813

18 Theresa Buckland “Traditional Dance” in Dance History: an Introduction. 2

nd ed. Ed Janet Adshead-Lansdale and

June Layson. USA and Canada: Routledge 1994 pg 45

19 “Social Dances.” http://college.hmco.com/history/readerscomp/reah/html/ah_022802_iisocialdanc.htm

20 Royce, Amy Peterson. The Anthropology of Dance (UK: Dance Books Ltd. 2002) pg 119


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What is danced in St. Lucia nowadays is an adaptation of those European ballroom or court

dances. These include the lakonmèt, weedova, schottische, moulala, polka, gwan won, faci,

<orwegian, kwibish and the kwadril. During the post emancipation period, those dances were

kept alive mainly in the rural areas of the island. The musicians used instruments that were

popular among the slaves, such as the fiddle or violin, the banjo, the zoe (bones) and chak chak.

At those kwadril dances, patrons were usually required to pay to dance the kwadril, which would

be announced intermittently.21 This dance, which was the main attraction, required a certain level

of competence and only the more erudite members of the community danced it. The other dances

were free, for the enjoyment of everyone.

The Revival of St. Lucia’s Folk Music

“There is little doubt that during the 1970s, trailing on the heels of political

independence, there was a rising tide of nationalism in the Caribbean. This in turn

stimulated a desire by Caribbean peoples to unearth and learn about their own history

and culture.” 22

21 Augustin “Charlie” Julian Interview. November 5

th 2005

22 Olive Lewin. “Banana Boat Song Forever?” Come Make Me Hol’ Yuh Han’: The impact of Tourism on

Traditional Music. (Jamaica: Jamaica Memory Bank 1986) pg3


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Around 1970, several attempts were made by various groups and cultural activists to revive a

folk culture, which enjoyed prominence only in the rural areas of St. Lucia. In 1969, a group

called the “Helenites” led by Clement Springer cut the first folk record. In 1970, another group

called the “Hewanorra Voices” made a record called “Authentic songs of Saint Lucia”23

containing a compilation of nine of the more popular St. Lucian folk songs.

“Interest in the folk culture of St. Lucia was stimulated greatly by the performance in 1972 of

Roderick Walcott’s play “Banjo Man”.24 The theme of the play was centred on the island’s two

festivals – La Rose and La Maguerite, and featured several folk songs composed by Charles

Cadet, one of St. Lucia’s more prominent composers. The performance of “Banjo Man” that year

at a Caribbean festival called Carifesta was reportedly successful and the popularity of the songs

spread throughout St. Lucia.

During that same period of time (1970) about thirty teachers embarked on a project to learn

about the traditional folk dances at a time when the dances (and the music) were relegated only

to the “old country folks”. At that time, “many (of the dancers) had forgotten the steps and some

used to quarrel when dancing the figures.”25 Many times, a fight would erupt as a result.

Several groups emerged as a result of this project, some of which were directly responsible for

increasing the popularity of the dances. The main groups are “The Helen Folk Dancers”, “Les

23 Collin Brock, Caribbean Communities: A Social Studies series for secondary schools. (Mac Millan Education Ltd.

1976) pg 62

24 Ibid pg 62

25 Theresa Hall interview. November 4

th 2005. The figures refer to the kwadril dance.


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Danseurs Tradicionale de St. Licie”, and “The Island Creole Dancers” which are all currently

still functional, and “Frank Norville and the Lucians” which is no longer active.

Folk dancing was later introduced to the schools in the form of an annual folk dancing

competition. Rivalry between the organizing folk groups and the “lack of support from

government ministries”26, among other factors, later led to the dissolution of the festival. By

then, St. Lucia’s folk music and folk dances were being exposed to the national community as

well as overseas.

The St. Lucian Folk Band

A typical St. Lucian folk band consists of a violin, guitar, banjo, chak chak and/or mandolin.27

Those are the core instruments used, however, it is not uncommon to see a gwaj

(scratcher/guiro), zoe (two bones), or African drums, which are referred to locally as tanbou.

The violin normally plays the melody and provides introductions and improvisatory passages. In

some cases other lead instruments, depending on the composition of the band, provide the

melody. These instruments include the flute and the accordion. The guitar functions as a bass

guitar and provides bass lines while the banjo plays chords and provides strumming patterns

which coincide with the various dance steps. It is sometimes plucked and used as a lead

instrument.

26 Joan Hyacinth Interview December 23

rd 2005

27 Frank Norville, Folk Dances of St. Lucia: Traditional and Ethnic


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A local chak chak is made with a cylindrical metal container in which pebbles, beads or seeds are

placed. The container is perforated in order to amplify the sound. The chak chak and banjo are

the main instruments of the band and provide the pulse and rhythms, which the dancers rely on.28

The chak chak in particular maintains the tempo and adds life to the performance.

The Folk Musicians

The majority of folk musicians are over forty years of age. These musicians “learn to play by ear,

by listening to and looking at other players. There is no formal instruction between the players

and the learners, except in very rare cases”.29 They generally have a very limited knowledge of

harmony and they are only familiar with a few major chords. Only a few major keys are used and

some musicians don’t always know the names of the chords that they play. “They have their own

language”30 and terminology. It is not unusual, therefore, for the lead instrument to play four or

eight bars of the melody, unaccompanied, to allow sufficient time for the other musicians to find

the key. “This unaccompanied section is known today as the introduction.”31 With their good

“ear” for music, most musicians will join in comfortably. On occasion, however, particularly

when attempting to play an unfamiliar piece, musicians have been known to simultaneously

begin playing in different keys for a few measures before finding the right key. This scenario

28 Augustin “Charlie Julian Interview November 5

th 2005

29 Jocelyn Guilbaut, Events in the Lives of the people of a Caribbean Island, St. Lucia. (University of Michigan

1984) pg 7

30 Joan hyacinth Interview December 23

rd 2005

31 Frank Norville Interview November 2

nd 2005


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also occurs in cases where individual band members are familiar with the same song but in

different keys.32

“Very few (folk) musicians play minor”33 and use minor chords. Traditionally, the musician’s

concept of minor was any up-tempo and aggressive piece of music. This notion emanated from

the 1940 – 1950 period when meringue was the popular music of the day. “Many meringue

songs were up-tempo and in a minor tonality.”34

Folk musicians, even today, are “…still rejected socially in most islands because of his ‘lower-

class’ background and limited education…”35

32 Ibid

33 Ibid

34 Ibid

35 Janie Millington Robertson, “Traditional Music: It’s Place in Caribbean tourism” Come Mek Me Hol’ Yuh Han’:

The Impact of Tourism on Traditional Music. (Jamaica Memory Bank 1986) pg 31


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Chapter 4

Methodology

The collection of data for this thesis was achieved mainly through the analysis of audio

recordings of the various dances and personal interviews with folk musicians and dancers. In an

attempt to capture the authenticity of the folk sound, only examples of live recordings on

compact disc and audiocassettes were used. For each of the dances comparisons were made,

where there was more than one example available, and an analysis of the piece of music was

done. The general form of each piece as well as the melodic, harmonic, rhythmic and textural

components was individually examined. The analysis was mainly of a descriptive nature with

some synthesis where possible.

Examples of the various dances, where available, were recorded off the Internet using a digital

audio player in an attempt to establish any similarities in the music of the original European

dances and St. Lucian traditional folk dances. All musical examples had to be transcribed since

no scores were available. A thorough knowledge of the dance steps was also necessary and folk

dancers were asked to demonstrate the various dances.

Limitations

Some of the views presented in this thesis are not necessarily unanimous among all folk

musicians and dancers in St. Lucia since the research was based mainly in the Castries region.


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The writer, being a full time student in Trinidad and Tobago and faced with logistic and time

constraints, was unable to locate and interview individuals from the southern, rural areas of the

island at a time that was convenient for both parties.

Since very little documentation exists on the development of St. Lucian folk music and dance,

there was no way of determining the accuracy of some of the information received from the

respondents.

There were only one or two available examples of some of the dances, leaving little or no room

for comparison. It was also difficult to accurately transcribe some of the music since the

musicians had a tendency to be inconsistent in their playing. It was not always clear whether they

were improvising or making errors, particularly where the chak chak was concerned.


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Chapter 5

A Closer Look at the Traditional Folk Dances of St. Lucia

In order to fully appreciate the music of the dances, it is necessary to have a general idea of how

they are danced. It must be noted that the traditional dresses of St. Lucia, reminiscent of the

elegant European costumes, are still worn by the women at performances. Those dresses include

the Jip and the Wòb Dwiyèt. The Jip is a three-piece outfit consisting of a white blouse, an outer

skirt made of madras material, a headpiece and a brightly coloured triangular cloth (foulard)

pinned to the shoulder. The Dwiyèt is a long dress with a long back trail. The trail is usually

thrown over the left hand to reveal the long, satin petticoat. A headpiece is also worn.36 The

gentlemen usually wear a long sleeved shirt and/or jacket and pants, often with a waistband.

In this chapter, the following dances will be briefly discussed and illustrated: lakonmèt, moulala,

schottische, weedova, polka and kwibish.

36 Helen Folk Dancers. Perpetuation of Culture for the Future. Pg 1


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The Lakonmèt

The lakonmèt is believed to be indigenous to St. Lucia and was derived from the French Minuet.

The minuet was a complex dance with many rules and though it was often ridiculed, “…it

attained the greatest popularity and degree of importance over all the other dance forms.” 37

There are three types of lakonmèt dances in St. Lucia: lakonmèt Pitjé (or pique), lakonmèt woulé

and lakonmèt mazouk. They are all in ¾ time with similar musical characteristics. The lakonmèt

Pitjé is of a moderate tempo and is danced to six beats in every bar instead of three. The couple

steps from side to side alternately for the first five beats and on the sixth beat one leg is raised

slightly off the floor. The raising of the leg is called a “Pitjé”. The routine is repeated, this time

starting on the other leg and the couple moves freely about the floor in different directions. The

lakonmèt woule is similar to the lakonmèt Pitjé in movement and music, except there is no Pitjé.

It is danced in a continuous side-to-side movement. The lakonmèt mazouk is usually livelier and

faster than the lakonmèt Pitjé and the basic steps remain the same. The main difference is that a

“Pitjé” is done on the third and sixth beat and then again on the sixth beat. The pattern would

then be, one two pitjé - one two pitjé- one two three four five pitjé.

The Moulala

The moulala is in 4/4 time and of a moderate tempo. It is believed that there are two types of

moulala: moulala yonn de and moulala yonn de twa or twa fasad,38 the latter of which is not very

37 Louis Horst, Pre-Classic Dance Forms. (New Jersey: Princeton Book Company 1987) pg 62

38 Joan Hyacinth Interview. December 23

rd 2005. The dances literally mean” moulala one two” and


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popular and danced only in a few parts of the island. While no European equivalent was found to

this dance, it bears similarities in footwork to the weedova. In this moulala dance, the gentleman

extends his left leg to the side, touching the floor with his heel. He then brings the leg back in,

touching the floor with his toe. This heel and toe movement is done three times; he shuffles to

change legs and repeats the pattern starting with the right leg. The pattern would then be as

follows: heel toe - heel toe -heel toe - step step step - heel toe – heel toe – heel toe - step step

step, and so on. His partner mirrors his movements, as in all the dances.

The schottische

The schottische is also in 4/4 time with a moderate tempo. It is a “partnered country dance,

Bohemian in origin”39, and has many similarities to the original dance. The couple steps twice to

the left side, twice to the right, and then does a waltz-like movement for two bars. The leader’s

footwork would be: left right left hop on left, right left right – hop on right, step on left hop on

left, step on right hop on right, step on left hop on left, step on right hop on right.40 The hop, as it

is done in St. Lucia is a slight movement, which entails the lifting of the heel off the floor.

“moulala one two three”. Joan Hyacinth explained that she has only seen the moulala yonn de danced in Morne

Repos, a southern community in St. Lucia.

39 “Schottische.” Wikipedia, The Free Encyclopedia. 28

th Oct 2005, 09: 06 UTC. 18 Dec 2005, 20: 43

http://en.wikipedia.org/w/index.php?title=Schottische&oldid=26692401

40 Ibid


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The Weedova

There is currently no research that links the weedova to any particular European dance, except

for a dance with a similar name called the “Redowa”, which (like the weedova) is a lively waltz

in ¾ time.41 There is no evidence, however, to suggest that the “Redowa” was the precursor for

the weedova, since there are no similarities in the steps. In the weedova, the first three beats are

danced to a waltz pattern followed by a heel and toe step (left right left heel toe, right left right

heel toe). The Redowa is described as being one long reaching step, which can be danced on

either the first or second beat of each bar, followed by two short steps.42

The Italian Polka

The polka is defined as “…a vivacious couple dance of Bohemian origin in duple time…it was

originally a Czech peasant dance, developed in Eastern Bohemia.”43 It is one of the few dances

to have survived. There are many different types of polkas. The one danced in St. Lucia is said to

be the Italian Polka44 and it resembles a hopping motion: left right left, right left right, and so on.

41 “Redowa.” Wikipedia, The Free Encyclopedia. http://en.wikipedia.org/wiki/Redowa. A basic redowa step

contains one long reaching step and two small leap-steps.

42 Ibid

43 “Polka” http://www.centralhome.com/ballroomcountry/polka.htm

44 Frank Norville, Folk Dances of St. Lucia: Traditional and Ethnic (Castries: Voice Press 19)


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The Kwibish

The kwibish is reminiscent of “animal imitation dances” done mainly by the blacks during the

slavery period such as “the Buzzard Lope, Turkey Trot, Snake Hip and Pigeon Wing.”45

Patterned after the crayfish in the river, this unique dance has two main sections. In the first

section, the man faces his partner without holding and steps forward on the 1st and 3

rd beats of

the first two bars. He then steps back with the same timing for the next two bars. This whole

pattern is repeated. His partner mirrors his movements throughout this section. In the next

section they hold each other, dancing freely with a side-to-side movement to a lively change in

the music.

45 Amy Peterson Royce, The Anthropology of Dance (UK: Dance Books Ltd 2002) pg 115


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Chapter 6

Analysis of the Music of Selected Traditional Dances

In this chapter, the musical features of the various dances will be described and analysed and the

identifying characteristics of each dance will be discussed.

Lakonmét Pitjé

Although the lakonmét Pitjé is in triple meter, the short, two-bar melodic phrases, which are

characteristic of this dance, create a feeling of a six beat pattern. In most lakonmét music, there is

a recurring section or refrain, which is contrasted, with one or two different sections, as in the

rondo form of composition. Each section is eight bars in length. The melodies are heavily

syncopated and contain many triadic or arpeggiated intervals (Ex. 6-1a). Only major chords I, IV

and V are used with occasional dominant 7th chords. The banjo provides the main lakonmét

rhythm in this example (Ex. 6-1a), which is reinforced by the continuous pattern of the chak

chak:

The guitar generally follows the rhythm of the banjo or chak chak and plays a melodic and active

bass pattern, moving unpredictably between 3rds, 5ths and octaves. The rhythms of the chak

chak and banjo, in particular, clearly reflect the influences of the African culture on the music.


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Lakonmét Mazouk

The form and musical features of the lakonmét mazouk are similar to the lakonmét Pitjé. The

main difference, however, is the feel of three beats in every bar as compared to six. This is

achieved by the rhythm of the chak chak and the even, simple, triadic bass pattern (Ex. 6-1b).

Most mazouks are more up tempo than the lakonmèt Pitjé and tend to accentuate the first two

beats of the last bar at the end of each section, which is another identifiable trait of the lakonmét

mazouk. This pattern is also found in the menuet form from which the lakonmét dance is said to

have originated. (Ex.6-2). While there appears to be similarities in form between the two, the

melody of the menuet is less syncopated and there are extended and minor chords which are not

found in the lakonmét.


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The lyrics in Ex. 6-1b can be translated to mean:

Aunties ‘Po’, please talk to Edward for me.

Warn him.

The next time I will throw hot water on him.

Many songs in the style of the lakonmèt talk about love and relationships.


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The Schottish (Shoddish)

Schottische music has a march-like rhythm, which differentiates it from the other dances. This

rhythm, sometimes with slight variation, is played by the chak chak, banjo and tanbou (Ex. 3).

There is a general feeling of inactivity on the last beat of every bar:

The schottische has two contrasting sections: AB or verse and chorus. Each section is eight bars

in length and a harmonic contrast is achieved by beginning the second section with the

subdominant IV chord. The melodies are generally less syncopated with longer note durations

and are reminiscent of church hymns. The bass pattern played by the guitar can either be a

simple country/western type rhythm or a pattern based on the chak chak rhythm.

Example 6-3a. Schottische. Anon

The St. Lucian version of the schottische has similar form and harmonic structure as the

European schottische (Ex. 6-3b). They are both in binary form and have similar chord


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progression. The military feel of the local adaptation, however, and its hymn-like melodies are

quite different from the quick, European version.

Example 6-3b. Blacksmith’s no.1 Schottische Couple Dance.

The Moulala

The moulala is of a moderate tempo and is in 4/4 time. There is usually just one refrain, which is

repeated throughout, sometimes with variation or improvisation, particularly in the instrumental

pieces. In the songs, the verse and chorus are either the same or share the same chord

progression. Two different moulala rhythms were identified. In the first one, the melodic

phrasing, along with the chak chak, creates an ongoing five-beat pattern followed by little

activity:


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In the second rhythm, a seven beat pattern is felt with a rest on the eighth beat:

No one seems to know the origin of the moulala and no equivalent was found. It is believed that

the dance is indigenous to St. Lucia. While there may be similarities between the dance steps of

the moulala and the heel and toe polka, the moulala is unique in its form and rhythmic

characteristics compared to the other dances. It seems to be predominantly of African influence,

with evidence of the European influences being found in mainly the dance steps and certain

aspects of the melody.

Example 6-4. Moulala. Anon.


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The Weedova

The music of the weedova is quite similar to an ordinary up-tempo waltz with a clear accent on

the first beat. The distinguishing feature, however, is the accentuation of the first four beats of

the last two bars in each section (Ex 6-5):

All the accompanying instruments simultaneously do this most of the time. The melodies are

active, with mainly step-wise and triadic movements. The music is either in rondo form, where

each section is repeated, or it contains improvised melodies, all based on the same chord

progression.

Example 6-5. Weedova. Anon.


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The rhythmic patterns of the banjo and chak chak vary slightly from tune to tune but they are

usually steady. The bass pattern played by the guitar is almost as active as the melody, using a

“walking bass” style at the cadences.

The Polka

The polka, also known by local musicians as the “ordinary”46 polka, is in 2/4 time and also in

rondo form. Each section is eight bars in length and only the tonic, subdominant and dominant

chords are used. The polka tunes tend to have similar harmonic qualities or use the same chord

progressions: I V V I – I IV V I. The melodies are simple and the melodic rhythms are mainly

composed of quaver and semi-quaver patterns with lots of repetition and melodic sequences. The

guitar plays, what is locally referred to as, a “melody” or an “open chord”47 bass. This describes

a mixture of brief melodic patterns with bass runs played extemporaneously throughout the song.

Both the chak chak and the banjo play the main polka rhythm:

A variation of the above rhythm can be seen in the banjo and chak chak parts in Ex.6-6a.

Another unique feature of the polka is the rhythm, which is simultaneously played by the

accompanying instruments at the end of every section:

46 Augustin Julian Interview 10

th January 2006

47 Ibid


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The Italian Polka (Ex. 6-6b) is also in 2/4 time but the dominant rhythmic pattern is different

from the “ordinary” polka:

Example 6-6a. “Ordinary” Polka. Anon.

This rhythm is played by all the instruments except the guitar and is heard frequently as a

response to every preceding phrase. This pattern of call and response occurs throughout the song.


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Example 6-6b. Italian Polka. Anon

The Kwibish

The kwibish is in 2/4 or 4/4 time and has two main contrasting sections. The first is a non-

continuous 16-bar (8 bars in 4/4 time) section in which the first and third beats in every bar are

emphasized. Not only is this achieved through the rhythms played by the chak chak and banjo,

but also through the short, melodic fragments of that section (Ex. 6-7). The second section is a

lively one, characterised by a repetitive motif played over a tonic – dominant chord progression.

The duration of that section varies within the song, which implies that the length of that section

depends on the musicians. An impending change back to the first section is signalled by the

following rhythm:

The guitar’s melodic bass pattern is again noticeable and tends to harmonize with the melody

particularly in the second section.


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Example 6-7. Kwibish. Anon.


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Chapter 7

Conclusion

The music of St. Lucia’s traditional dances can be characterized by the simplicity of its harmonic

structure, the syncopated and extemporaneous rhythms of the accompanying instruments, and the

short, triadic phrases with step-wise (conjunct) motion which constitute the melodies. The

melodic and often erratic bass lines are present in most of the dances and appear to be a subtle

adaptation of the classical and sophisticated nature of some of the original dances. While the

music has maintained much of its original form and melodic structure, the African influence is

evident in the syncopated rhythms and melodies and the call and response nature of the songs.

Although several rhythmic variations can be heard in the same piece of music, each dance has

one or two rhythmic features, which clearly distinguish one from the next. The chak chak and

banjo are mainly responsible for establishing the style of the music and they are therefore the

most important instruments of the folk band.

There are no modulations of any kind and the use of minor tonalities is virtually non-existent.

The harmonies are limited only to the tonic, subdominant and dominant chords. Dominant

seventh chords are sometimes suggested in the melody or the bass line but are rarely played by

the banjo.


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The absence of minor chords, dominant sevenths and extended dominants may be typical of

many folk songs, but this phenomenon can also be attributed, in this case, to the limitations of

the local folk musicians. This is exemplified in their limited ability to improvise and develop

melodic themes in order to avoid excessive repetition and monotony.

Recommendations

It is hoped that the following recommendations will prove useful in stimulating further research

into the folk music of St. Lucia and will also renew efforts to revive a dwindling culture:

1. In order to better understand and appreciate St. Lucia’s folk music, a study of the folk

musicians should be done – their history, rehearsal methods, terminology, and their

musical strengths and weaknesses.

2. There is a dire need for the proper documentation of St. Lucia’s folk music –

transcriptions, recordings and the classification of music into the various styles. There is

a strong possibility that the repertoire of folk music that exists is much wider than what is

currently being used. In the process of carrying out this research, the writer came across

two popular La Woz songs in the style of the schottische and lakonmét mazouk, which are

not part of the current folk dance repertoire.

3. A more contemporary approach to the folk music should be taken in order to appeal to a

wider cross section of the public. This includes new compositions and arrangements in

the various styles as well as the re-harmonization of “old” material.


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Appendix A

Excerpts of Traditional Folk Music

The following are transcribed excerpts of the music that has been analyzed in this thesis. It

illustrates only a section of the melody, the bass patterns played by the guitar, and the

characteristic rhythm of the music played by the chak chak and banjo.


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Example 6-1a. Lakonmèt Pitjé (continued)


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40

Example 6-1b. Lakonmèt Mazouk (continued)


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41

Example 6-4. Moulala (continued)

Example 6-3a. Schottische. Anon.


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Example 6-3a. Schottische (continued)


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Example 6-4. Weedova (continued)


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44


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Example 6-7. Kwibish (continued)


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Appendix B

Traditional Folk wear of St. Lucia

From left to right: The Wob Dwiyet, a male outfit, and the Jip.


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Glossary

Chak Chak A cylindrical metal can containing beads or seeds; a type

Maracas.

Chantwèl A female lead singer

Foulard A triangular, brightly-coloured cloth worn with the jip

Gwaj A scratcher or guiro made of metal

Jip One of the less formal, traditional dresses of St. Lucia

Jwé Songs Play songs

Kwadril A four-figured, square dance of European origin

Pitjé The raising of the foot off the ground during the lakonmét

Dance

Tanbou An African drum

Wòb Dwiyet One of St. Lucia’s more formal traditional folk dresses

Zoe Bones


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Bibliography

Boynick, Matt. The Grove Concise Dictionary of Music. Ed. Stanley Sadie. London:

Macmillan Press Ltd, 1996.

Brock, Colin. Caribbean Communities: A Social Studies Series for Secondary

Schools. Mac Millan Education Ltd, 1975.

de Stwolinski, Gail. Form and Content in Instrumental Music. University of

Oklahoma. Iowa: WM.C.Brown Company, 1977.

Guilbaut, Jocelyn. Events in the Lives of the People of a Caribbean Island, St. Lucia:

A dissertation submitted in partial fulfilment of the requirement for the degree of Doctor of

philosophy (Music Musicology) in the University of Michigan.1984.

International Colloquium on Traditional Music and Tourism. Come Mek Me Hol’ Yu

Han’: The Impact of Tourism on Traditional Music. Papers presented at ICTIM colloquium

in Jamaica. Kingston and Newcastle: Jamaica Memory Bank, 1986.

Jesse Rev. C. F.M.I. Outlines of St. Lucia’s History. Castries: The Voice Publishing

Company (1953) limited, 1964

Norville, Frank. Folk Dances of St. Lucia: Traditional and Ethnic. Castries: Voice press.

Pilgrim, John H. Snippets of St. Lucia’s History. St. Lucia: The Standard, 1975.

Scholes, Percy A. The Oxford Companion to Music. 10th ed. Ed. John Owen Ward.

New York Toronto: London Oxford University Press, 1970.

iroo, Anne Marie. “Biography of Charles Cadet and his Contributions to the

Music of St. Lucia.” Caribbean Studies Project. Department of Musical Arts. University of

the West Indies, St. Augustine, 2004.

Todd, Larry R. The Musical Art: An Introduction to Western Music. California:

Wadsworth Publishing Company, 1990.

White, John D. The Analysis of Music. 2nd Ed. London: The Scarecrow Press Inc, 1984.


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Internet Sources

“Couple Dances.” http://sca.uwaterloo.ca/cotsdca/CoupleDances.html.

“Folk dance.” Wikipedia, The Free Encyclopedia. 15 Dec 2005, 08:53 UTC. 18Dec

2005, 21:03<http://en.wikipedia.org/w/index.php?title=31446813>

“How to Dance a Minuet”. The Colonial Music Institute: Bringing History of Life

Through Music. http://www.colonialmusic.org/Resource/howtoMIN.htm. Sep.18, 2001.

“Mazurka.” Wikipedia, The Free encyclopedia. 12 Dec 2005, 18:57 UTC. 18 Dec

2005,20:46<http://en.wikipedia.org/w/index.php?title=Mazurka&oldid=310801>

“Music of Saint Lucia.” Wikipedia: the free encyclopaedia.

http://www.answers.com/topic/music_of_saint_lucia.

“Musical Forms – Minuet”. Classical Music Pages berlin.mpg.de/cmp/g_minuet.html.

“Polka”. http://www.freewheelers.org/1DancingFool/Polka.htm

“Schottische.” Wikipedia, The Free Encyclopedia. 28 Oct 2005, 09:06 UTC.

18Dec2005,20:43<http://en.wikipedia.org/w/index.php?title=Schottische&oldid= 261

List of Recordings Consulted

“Aye Da”. Hewanorah Voices: Authentic Songs of St. Lucia.

“Blacksmith’s no. 1 Schottische Couple Dance.”

http://www.freewheelers.org/DancingFool/Schott.htm

“Dona Bleska, Mixer Dance.” Folk Dance Music with improvisations.

http://www.folkdance.suite.dk/u17/main.htm

“Hamborg 6-tur.” Folk Dance Music with improvisations.

http://www.folkdance.suite.dk/u19/main.htm

“Italian Polka”. Manmay Lakay

“Jwe Ban Mwen.” Sessenne: The First Lady of Folk. Rainbow WIRL inc.

Music Division. Barbados.

“Konba.” Roderick Walcott’s The Banjo Man: The Prologue. Track 7. The Cultural

Development Foundation et al. St. Lucia: 2004


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“Kwibish”. Manmay Lakay

“Lakonmét: ‘Ale Di Wadlo, Mi Mwen Ja Wive’”. Musical Traditions of St. Lucia,

West Indies: Dances and Songs from a Caribbean Island. Track 32. Smithsonian/Folkways

Recording. Canada: 1993.

“Lakonmét Dance”. Musical Traditions of St. Lucia, West Indies: Dances and

Songs from a Caribbean Island. Track 14. Smithsonian/Folkways Recording.Canada: 1993

“Lakonmét”. Sweet Sounds of St. Lucia featuring Rameau Poleon and Quiet Fire.

“Ti Manmay.” Sweet Sounds of St. Lucia featuring Rameau Poleon and Quiet Fire.

“La Voir Nous Nis.” Sessenne: The First Lady of Folk. Rainbow WIRL Inc.


“La W’Rose Mete Nous.” Sessenne: The First Lady of Folk. Rainbow WIRL Inc.


“Menuet.” Boccherini. Classic Cuts. Orpheus Chamber

“Moulala.” Sweet Sounds of St. Lucia featuring Rameau Poleon and Quiet Fire.

“Moulala Twa Fasad.” Musical Traditions of St. Lucia, West Indies: Dances and

Songs from a Caribbean Island. Track 14. Smithsonian/Folkways Recording.Canada: 1993

“Pale Edward Ban Mwen.” Sessenne: The First Lady of Folk. Rainbow WIRL Inc.


“Phillip Moso Zowei.” Hewanorah Voices: Authentic Sounds of St. Lucia.

“Schottische.” Sweet Sounds of St. Lucia featuring Rameau Poleon and Quiet Fire

“Tazmillia.” Hewanorah Voices: Authentic Sounds of St. Lucia.

“Weedova.” Sweet Sounds of St. Lucia featuring Rameau Poleon and Quiet Fire

“Weedova.” Manmay Lakay

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